Cliffs Complete Shakespeare`s King Henry IV, Part 1

Transcription

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CLIFFSCOMPLETE
Shakespeare’s
King Henry IV,
Part 1
Edited by Sidney Lamb
Associate Professor of English
Sir George Williams University, Montreal
Complete Text
+
Commentary
+
Glossary
Commentary by Michael McMahon
IDG Books Worldwide, Inc.
An International Data Group Company
Foster City, CA • Chicago, IL • Indianapolis, IN • New York, NY
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CLIFFSCOMPLETE
Shakespeare’s
King Henry IV,
Part 1
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About the Author
Michael McMahon (B.A.) (hons) (Dunelm) taught literature for many
years in private and public schools and colleges in England. He now writes
full-time, mostly on educational matters, and his work is frequently published in the English national press.
CliffsComplete King Henry IV, Part 1
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CLIFFSCOMPLETE
Shakespeare’s
King Henry IV, Part 1
CONTENTS AT A GLANCE
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Act I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Act II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Act III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Act IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Act V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
CliffsComplete Review . . . . . . . . . . . . . . . . . . . . . . . 163
CliffsComplete Resource Center . . . . . . . . . . . . . . . 169
CliffsComplete Reading Group
Discussion Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
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CLIFFSCOMPLETE
Shakespeare’s
TABLE OF CONTENTS
Introduction: King Henry IV, Part 1 . . . . . . . . . . 1
Introduction to William Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Introduction to Early Modern England . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Introduction to King Henry IV, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Character Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Act I
Scene 1
Scene 2
Scene 3
London, the palace. . . . . . . . . . . . . . . . . . . . . . 27
London, an apartment of the Prince’s. . . . . . . . . 32
London, the palace. . . . . . . . . . . . . . . . . . . . . . . 40
Act II
Scene 1
Scene 2
Scene 3
Scene 4
Rochester, an inn yard. . . . . . . . . . . . . . . . . . . . 55
The highway, near Gadshill. . . . . . . . . . . . . . . . 59
Warkworth Castle. . . . . . . . . . . . . . . . . . . . . . . 64
The Boar’s-head Tavern, Eastcheap. . . . . . . . . . . 69
Act III
Scene 1
Scene 2
Scene 3
Bangor, the Archdeacon’s house. . . . . . . . . . . . . . 91
London, the palace. . . . . . . . . . . . . . . . . . . . . . 103
Eastcheap, the Boar’s-head Tavern. . . . . . . . . . . 109
Act IV
Scene 1
Scene 2
Scene 3
Scene 4
The rebel camp near Shrewsbury. . . . . . . . . . . . 119
A public road near Coventry. . . . . . . . . . . . . . . 126
The rebel camp near Shrewsbury. . . . . . . . . . . . 129
York, the Archbishop’s palace. . . . . . . . . . . . . . . 134
Act V
Scene 1
Scene 2
Scene 3
Scene 4
Scene 5
The King’s camp near Shrewsbury. . . . . . . . . . . 139
The rebel camp. . . . . . . . . . . . . . . . . . . . . . . . 144
Plain between the camps. . . . . . . . . . . . . . . . . 148
Another part of the field. . . . . . . . . . . . . . . . . . 152
Another part of the field. . . . . . . . . . . . . . . . . . 159
viii
CliffsComplete Review . . . . . . . . . . . . . . . . . . . . . . . . . 163
CliffsComplete Resource Center . . . . . . . . . . . . . . . . . 169
CliffsComplete Reading Group Discussion Guide . . . 171
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Shakespeare’s
KING HENRY IV, PART 1
INTRODUCTION TO
WILLIAM SHAKESPEARE
William Shakespeare, or the “Bard” as people fondly
call him, permeates almost all aspects of our society.
He can be found in our classrooms, on our televisions, in our theatres, and in our cinemas. Speaking
to us through his plays, Shakespeare comments on
his life and culture, as well as our own. Actors still
regularly perform his plays on the modern stage and
screen. The 1990s, for example, saw the release of
cinematic versions of Romeo and Juliet, Hamlet,
Othello, A Midsummer Night’s Dream, and many
more of his works.
person, forcing critics and scholars to look to historical references to uncover the true-life great
dramatist.
Anti-Stratfordians — modern scholars who
question the authorship of Shakespeare’s plays —
have used this lack of information to argue that
William Shakespeare either never existed or, if he did
exist, did not write any of the plays we attribute to
him. They believe that another historical figure, such
as Francis Bacon or Queen Elizabeth I, used the
name as a cover. Whether or not a man named
In addition to the popularity of Shakespeare’s
plays as he wrote them, other writers have modernized his works to attract new audiences. For example, West Side Story places Romeo and Juliet in New
York City, and A Thousand Acres sets King Lear in
Iowa corn country. Beyond adaptations and productions, his life and works have captured our cultural imagination. The twentieth century witnessed
the production of a play about two minor characters
from Shakespeare’s Hamlet in Rosencrantz and
Guildenstern Are Dead and a fictional movie about
Shakespeare’s early life and poetic inspiration in
Shakespeare in Love.
Despite his monumental presence in our culture,
Shakespeare remains enigmatic. He does not tell us
which plays he wrote alone, on which plays he collaborated with other playwrights, or which versions
of his plays to read and perform. Furthermore, with
only a handful of documents available about his life,
he does not tell us much about Shakespeare the
An engraved portrait of Shakespeare by an unknown artist, ca. 1607.
Culver Pictures, Inc./SuperStock
2
William Shakespeare ever actually existed is ultimately
secondary to the recognition that the group of plays
bound together by that name does exist and continues to educate, enlighten, and entertain us.
Family life
Though scholars are unsure of the exact date of Shakespeare’s birth, records indicate that his parents —
Mary and John Shakespeare — baptized him on April
26, 1564, in the small provincial town of Stratfordupon-Avon — so named because it sat on the banks
of the Avon river. Because common practice was to
baptize infants a few days after they were born, scholars generally recognize April 23, 1564 as Shakespeare’s
birthday. Coincidentally, April 23 is the day of St.
George, the patron saint of England, as well as the day
upon which Shakespeare would die 52 years later.
William was the third of Mary and John’s eight children and the first of four sons. The house in which
scholars believe Shakespeare to have been born stands
on Henley Street and, despite many modifications
over the years, you can still visit it today.
Shakespeare’s father
Prior to Shakespeare’s birth, John Shakespeare lived in
Snitterfield, where he married Mary Arden, the daughter of his landlord. After moving to Stratford in 1552,
he worked as a glover, a moneylender, and a dealer in
agricultural products such as wool and grain. He also
pursued public office and achieved a variety of posts
including bailiff, Stratford’s highest elected position
— equivalent to a small town’s mayor. At the height
of his career, sometime near 1576, he petitioned the
Herald’s Office for a coat of arms and thus the right
to be a gentleman. But the rise from the middle class
to the gentry did not come right away, and the costly
petition expired without being granted.
About this time, John Shakespeare mysteriously
fell into financial difficulty. He became involved in
serious litigation, was assessed heavy fines, and even
lost his seat on the town council. Some scholars
Shakespeare’s birthplace.
SuperStock
suggest that this decline could have resulted from
religious discrimination because the Shakespeare
family may have supported Catholicism, the practice of which was illegal in England. However, other
scholars point out that not all religious dissenters
(both Catholics and radical Puritans) lost their posts
due to their religion. Whatever the cause of his
decline, John did regain some prosperity toward the
end of his life. In 1596, the Herald’s Office granted
the Shakespeare family a coat of arms at the petition
of William, by now a successful playwright in London. And John, prior to his death in 1601, regained
his seat on Stratford’s town council.
Childhood and education
Our understanding of William Shakespeare’s childhood in Stratford is primarily speculative because
children do not often appear in the legal records
from which many scholars attempt to reconstruct
Shakespeare’s life. Based on his father’s local prominence, scholars speculate that Shakespeare most
likely attended King’s New School, a school that usually employed Oxford graduates and was generally
well respected. Shakespeare would have started petty
school — the rough equivalent to modern
preschool — at the age of 4 or 5. He would have
learned to read on a hornbook, which was a sheet of
parchment or paper on which the alphabet and the
Lord’s Prayer were written. This sheet was framed in
Introduction to William Shakespeare
3
wood and covered with a transparent piece of horn
for durability. After two years in petty school, he
would have transferred to grammar school, where his
school day would have probably lasted from 6 or 7
o’clock in the morning (depending on the time of
year) until 5 o’clock in the evening, with only a
handful of holidays.
contain instances of marriage prompted by
pregnancy, and Measure for Measure includes this
kind of premarital contract.) Two years later, in February 1585, Shakespeare baptized his twins Hamnet
and Judith. Hamnet died at the age of 11 when
Shakespeare was primarily living away from his family in London.
While in grammar school, Shakespeare would
primarily have studied Latin, reciting and reading
the works of classical Roman authors such as Plautus, Ovid, Seneca, and Horace. Traces of these
authors’ works can be seen in his dramatic texts.
Toward his last years in grammar school, Shakespeare
would have acquired some basic skills in Greek as
well. Thus the remark made by Ben Jonson, Shakespeare’s well-educated friend and contemporary playwright, that Shakespeare knew “small Latin and less
Greek” is accurate. Jonson is not saying that when
Shakespeare left grammar school he was only semiliterate; he merely indicates that Shakespeare did not
attend University, where he would have gained more
Latin and Greek instruction.
For seven years after the twins’ baptism, the
records remain silent on Shakespeare. At some point,
he traveled to London and became involved with the
theatre, but he could have been anywhere between
21 and 28 years old when he did. Though some have
suggested that he may have served as an assistant to
a schoolmaster at a provincial school, it seems likely
that he went to London to become an actor, gradually becoming a playwright and gaining attention.
Wife and children
When Shakespeare became an adult, the historical
records documenting his existence began to increase.
In November 1582, at the age of 18, he married 26year-old Anne Hathaway from the nearby village of
Shottery. The disparity in their ages, coupled with
the fact that they baptized their first daughter,
Susanna, only six months later in May 1583, has
caused a great deal of modern speculation about the
nature of their relationship. However, sixteenth-century conceptions of marriage differed slightly from
our modern notions. Though all marriages needed
to be performed before a member of the clergy, many
of Shakespeare’s contemporaries believed that a couple could establish a relationship through a premarital contract by exchanging vows in front of
witnesses. This contract removed the social stigma
of pregnancy before marriage. (Shakespeare’s plays
The plays: On stage and in print
The next mention of Shakespeare comes in 1592 by
a University wit named Robert Greene when Shakespeare apparently was already a rising actor and playwright for the London stage. Greene, no longer a
successful playwright, tried to warn other University
wits about Shakespeare. He wrote:
For there is an upstart crow, beautified with our feathers,
that with his “Tiger’s heart wrapped in a player’s
hide” supposes he is as well able to bombast out a
blank verse as the best of you, and, being an absolute
Johannes Factotum, is in his own conceit the only
Shake-scene in a country.
This statement comes at a point in time when
men without a University education, like Shakespeare, were starting to compete as dramatists with
the University wits. As many critics have pointed out,
Greene’s statement recalls a line from 3 Henry VI,
which reads, “O tiger’s heart wrapped in a woman’s
hide!” (I.4.137). Greene’s remark does not indicate
that Shakespeare was generally disliked. On the
4
A ground plan of London after the fire of 1666, drawn by Marcus Willemsz Doornik.
Guildhall Library, London/AKG, Berlin/SuperStock
contrary, another University wit, Thomas Nashe,
wrote of the great theatrical success of Henry VI, and
Henry Chettle, Greene’s publisher, later printed a flattering apology to Shakespeare. What Greene’s statement does show us is that Shakespeare’s reputation for
poetry had reached enough of a prominence to provoke the envy of a failing competitor.
In the following year, 1593, the government
closed London’s theatres due to an outbreak of the
bubonic plague. Publication history suggests that
during this closure, Shakespeare may have written
his two narrative poems, Venus and Adonis, published
in 1593, and The Rape of Lucrece, published in 1594.
These are the only two works that Shakespeare seems
to have helped into print; each carries a dedication
by Shakespeare to Henry Wriothesley, Earl of
Southampton.
Stage success
When the theatres reopened in 1594, Shakespeare
joined the Lord Chamberlain’s Men, an acting company. Though uncertain about the history of his early
dramatic works, scholars
believe that by this point he
had written The Two Gentlemen of Verona, The Taming
of the Shrew, the Henry VI
trilogy, and Titus Andronicus. During his early years in
the theatre, he primarily
wrote history plays, with his
romantic comedies emerging in the 1590s. Even at
this early stage in his career,
Shakespeare was a success.
In 1597, he was able to purchase New Place, one of the
two largest houses in Stratford, and secure a coat of
arms for his family.
In 1597, the lease expired on the Lord Chamberlain’s playhouse, called The Theatre. Because the
owner of The Theatre refused to renew the lease, the
acting company was forced to perform at various
playhouses until the 1599 opening of the now
famous Globe Theatre, which was literally built with
lumber from The Theatre. (The Globe, later
destroyed by fire, has recently been reconstructed in
London and can be visited today.)
Recent scholars suggest that Shakespeare’s great
tragedy, Julius Caesar, may have been the first of
Shakespeare’s plays performed in the original playhouse. When this open-air theatre on the Thames
River opened, financial papers list Shakespeare’s
name as one of the principal investors. Already an
actor and a playwright, Shakespeare was now becoming a “Company Man.” This new status allowed him
to share in the profits of the theatre rather than
merely getting paid for his plays, some of which publishers were beginning to release in quarto format.
Publications
A quarto was a small, inexpensive book typically used
for leisure books such as plays; the term itself
Introduction to William Shakespeare
indicates that the printer folded the paper four times.
The modern day equivalent of a quarto would be a
paperback. In contrast, the first collected works of
Shakespeare were in folio format, which means that
the printer folded each sheet only once. Scholars call
the collected edition of Shakespeare’s works the First
Folio. A folio was a larger and more prestigious book
than a quarto, and printers generally reserved the format for works such as the Bible.
No evidence exists that Shakespeare participated
in the publication of any of his plays. Members of
Shakespeare’s acting company printed the First Folio
seven years after Shakespeare’s death. Generally, playwrights wrote their works to be performed on stage,
and publishing them was a novel innovation at the
time. Shakespeare probably would not have thought
of them as books in the way we do. In fact, as a principal investor in the acting company (which purchased the play as well as the exclusive right to
perform it), he may not have even thought of them
as his own. He would probably have thought of his
plays as belonging to the company.
For this reason, scholars have generally characterized most quartos printed before the Folio as
“bad” by arguing that printers pirated the plays and
published them illegally. How would a printer have
received a pirated copy of a play? The theories range
from someone stealing a copy to an actor (or actors)
selling the play by relating it from memory to a
printer. Many times, major differences exist between
a quarto version of the play and a folio version, causing uncertainty about which is Shakespeare’s true creation. Hamlet, for example, is almost twice as long
in the Folio as in quarto versions. Recently, scholars
have come to realize the value of the different versions. The Norton Shakespeare, for example, includes
all three versions of King Lear — the quarto, the
folio, and the conflated version (the combination of
the quarto and folio).
5
Prolific productions
The first decade of the 1600s witnessed the publication of additional quartos as well as the production
of most of Shakespeare’s great tragedies, with Julius
Caesar appearing in 1599 and Hamlet in 1600–1601.
After the death of Queen Elizabeth in 1603, the
Lord Chamberlain’s Men became the King’s Men
under James I, Elizabeth’s successor. Around the time
of this transition in the English monarchy, the
famous tragedy Othello (1603–1604) was most likely
written and performed, followed closely by King Lear
(1605–1606), Antony and Cleopatra (1606), and
Macbeth (1606) in the next two years.
Shakespeare’s name also appears as a major
investor in the 1609 acquisition of an indoor theatre
known as the Blackfriars. This last period of Shakespeare’s career, which includes plays that considered
the acting conditions both at the Blackfriars and the
open-air Globe Theatre, consists primarily of
romances or tragicomedies such as The Winter’s Tale
and The Tempest. On June 29, 1613, during a performance of All is True, or Henry VIII, the thatching
on top of The Globe caught fire, and the playhouse
burned to the ground. After this incident, the King’s
Men moved solely into the indoor Blackfriars Theatre.
Final days
During the last years of his career, Shakespeare collaborated on a couple of plays with contemporary
dramatist John Fletcher, even possibly coming out of
retirement — which scholars believe began sometime
in 1613 — to work on The Two Noble Kinsmen
(1613–1614). Three years later, Shakespeare died on
April 23, 1616. Though the exact cause of death
remains unknown, a vicar from Stratford in the midseventeenth century wrote in his diary that Shakespeare, perhaps celebrating the marriage of his
daughter, Judith, contracted a fever during a night of
revelry with fellow literary figures Ben Jonson and
Michael Drayton. Regardless, Shakespeare may have
felt his death was imminent in March of that year,
because he altered his will. Interestingly, his will
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mentions no book or theatrical manuscripts, perhaps
indicating the lack of value that he put on printed versions of his dramatic works and their status as company property.
Seven years after Shakespeare’s death, John
Heminge and Henry Condell, fellow members of the
King’s Men, published his collected works. In their
preface, they claim that they are publishing the true
versions of Shakespeare’s plays partially as a response
to the previous quarto printings of 18 of his plays,
most of these with multiple printings. This Folio
contains 36 plays to which scholars generally add
Pericles and The Two Noble Kinsmen. This volume of
Shakespeare’s plays began the process of constructing Shakespeare not only as England’s national poet
but also as a monumental figure whose plays would
continue to captivate imaginations at the end of the
millennium with no signs of stopping. Ben Jonson’s
prophetic line about Shakespeare in the First
Folio — “He was not of an age, but for all time!” —
certainly holds true.
Chronology of Shakespeare’s plays
1590–1591
1591
1592
1592–1593
1593–1594
1594
1594–1595
1595
1595–1596
1596
The Two Gentlemen of Verona
The Taming of the Shrew
2 Henry VI
3 Henry VI
1 Henry VI
Titus Andronicus
Richard III
Venus and Adonis
The Rape of Lucrece
The Comedy of Errors
Love’s Labour’s Lost
Richard II
Romeo and Juliet
A Midsummer Night’s Dream
Love’s Labour’s Won
(This manuscript was lost.)
King John
1596–1597
The Merchant of Venice
1 Henry IV
1597–1598
The Merry Wives of Windsor
2 Henry IV
1598
Much Ado About Nothing
1598–1599
Henry V
1599
Julius Caesar
1599–1600
As You Like It
1600–1601
Hamlet
1601
Twelfth Night, or What You Will
1602
Troilus and Cressida
1593–1603
Sonnets
1603
Measure for Measure
1603–1604
A Lover’s Complaint
Othello
1604–1605
All’s Well That Ends Well
1605
Timon of Athens
1605–1606
King Lear
1606
Macbeth
Antony and Cleopatra
1607
Pericles
1608
Coriolanus
1609
The Winter’s Tale
1610
Cymbeline
1611
The Tempest
1612–1613
Cardenio (with John Fletcher;
this manuscript was lost.)
1613
All is True, or Henry VIII
1613–1614
The Two Noble Kinsmen
(with John Fletcher)
This chronology is derived from Stanley Wells’
and Gary Taylor’s William Shakespeare: A Textual
Companion, which is listed in the “Works consulted”
section below.
A note on Shakespeare’s language
Readers encountering Shakespeare for the first time
usually find Early Modern English difficult to understand. Yet, rather than serving as a barrier to Shakespeare, the richness of this language should form part
of our appreciation of the Bard.
Introduction to Early Modern England
One of the first things readers usually notice
about the language is the use of pronouns. Like the
King James Version of the Bible, Shakespeare’s pronouns are slightly different from our own and can
cause confusion. Words like “thou” (you), “thee” and
“ye” (objective cases of you), and “thy” and “thine”
(your/yours) appear throughout Shakespeare’s plays.
You may need a little time to get used to these
changes. You can find the definitions for other words
that commonly cause confusion in the “Notes” column on the right side of each page in this edition.
Iambic pentameter
Though Shakespeare sometimes wrote in prose, he
wrote most of his plays in poetry, specifically blank
verse. Blank verse consists of lines in unrhymed
iambic pentameter. Iambic refers to the stress patterns
of the line. An iamb is an element of sound that consists of two beats — the first unstressed (da) and the
second stressed (DA). A good example of an iambic
line is Hamlet’s famous line “To be or not to be,” in
which you do not stress “To,” “or,” and “to,” but you
do stress “be,” “not,” and “be.” Pentameter refers to
the meter or number of stressed syllables in a line.
Pentameter has five stressed syllables. Thus, Juliet’s
line “But soft, what light through yonder window
breaks?” (II.2.2) is a good example of an iambic
pentameter line.
Wordplay
Shakespeare’s language is also verbally rich as he,
along with many dramatists of his period, had a
fondness for wordplay. This wordplay often takes the
forms of double meanings, called puns, where a word
can mean more than one thing in a given context.
Shakespeare often employs these puns as a way of
illustrating the distance between what is on the surface — apparent meanings — and what meanings lie
underneath. Though recognizing these puns may be
difficult at first, the glosses in the far right column
point many of them out to you.
7
If you are encountering Shakespeare’s plays for
the first time, the following reading tips may help
ease you into the plays. Shakespeare’s lines were
meant to be spoken; therefore, reading them aloud
or speaking them should help with comprehension.
Also, though most of the lines are poetic, do not forget to read complete sentences — move from period
to period as well as from line to line. Although
Shakespeare’s language can be difficult at first, the
rewards of immersing yourself in the richness and
fluidity of the lines are immeasurable.
Works consulted
For more information on Shakespeare’s life and
works, see the following:
Bevington, David, ed. The Complete Works of Shakespeare. New York: Longman, 1997.
Evans, G.Blakemore, ed. The Riverside Shakespeare.
Boston: Houghton Mifflin Co., 1997.
Greenblatt, Stephan, ed. The Norton Shakespeare.
New York: W.W. Norton and Co., 1997.
Kastan, David Scott, ed. A Companion to Shakespeare. Oxford: Blackwell, 1999.
McDonald, Russ. The Bedford Companion to Shakespeare: An Introduction with Documents. Boston:
Bedford-St. Martin’s Press, 1996.
Wells, Stanley and Gary Taylor. William Shakespeare:
A Textual Companion. New York: W.W. Norton
and Co., 1997.
INTRODUCTION TO EARLY
MODERN ENGLAND
William Shakespeare (1564–1616) lived during a
period in England’s history that people have generally referred to as the English Renaissance. The term
renaissance, meaning rebirth, was applied to this
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period of English history as a way of celebrating what
was perceived as the rapid development of art, literature, science, and politics: in many ways, the rebirth
of classical Rome.
Shakespeare’s work before turning to the importance
of the theatre and the printing press.
Recently, scholars have challenged the name
“English Renaissance” on two grounds. First, some
scholars argue that the term should not be used
because women did not share in the advancements
of English culture during this time period; their legal
status was still below that of men. Second, other
scholars have challenged the basic notion that this
period saw a sudden explosion of culture. A rebirth
of civilization suggests that the previous period of
time was not civilized. This second group of scholars sees a much more gradual transition between the
Middle Ages and Shakespeare’s time.
Intellectual context
Some people use the terms Elizabethan and
Jacobean when referring to periods of the sixteenth
and seventeenth centuries. These terms correspond
to the reigns of Elizabeth I (1558–1603) and James
I (1603–1625). The problem with these terms is that
they do not cover large spans of time; for example,
Shakespeare’s life and career spans both monarchies.
Scholars are now beginning to replace Renaissance with the term Early Modern when referring to
this time period, but people still use both terms
interchangeably. The term Early Modern recognizes
that this period established many of the foundations
of our modern culture. Though critics still disagree
about the exact dates of the period, in general, the
dates range from 1450 to 1750. Thus, Shakespeare’s
life clearly falls within the Early Modern period.
Shakespeare’s plays live on in our culture, but we
must remember that Shakespeare’s culture differed
greatly from our own. Though his understanding of
human nature and relationships seems to apply to our
modern lives, we must try to understand the world
he lived in so we can better understand his plays. This
introduction helps you do just that. It examines the
intellectual, religious, political, and social contexts of
In general, people in Early Modern England looked
at the universe, the human body, and science very
differently from the way we do. But while we do not
share their same beliefs, we must not think of people during Shakespeare’s time as lacking in intelligence or education. Discoveries made during the
Early Modern period concerning the universe and
the human body provide the basis of modern science.
Cosmology
One subject we view very differently from Early
Modern thinkers is cosmology. Shakespeare’s contemporaries believed in the astronomy of Ptolemy,
an intellectual from Alexandria in the second century A.D. Ptolemy thought that the earth stood at
the center of the universe, surrounded by nine concentric rings. The celestial bodies circled the earth in
the following order: the moon, Mercury, Venus, the
sun, Mars, Jupiter, Saturn, and the stars. The entire
system was controlled by the primum mobile, or
Prime Mover, which initiated and maintained the
movement of the celestial bodies. No one had yet
discovered the last three planets in our solar system,
Uranus, Neptune and Pluto.
In 1543, Nicolaus Copernicus published his theory of a sun-based solar system, in which the sun
stood at the center and the planets revolved around
it. Though this theory appeared prior to Shakespeare’s birth, people didn’t really start to change
their minds until 1610, when Galileo used his telescope to confirm Copernicus’ theory. David Bevington asserts in the general introduction to his edition
of Shakespeare’s works that during most of Shakespeare’s writing career, the cosmology of the universe
was in question, and this sense of uncertainty influences some of his plays.
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Universal hierarchy
Closely related to Ptolemy’s hierarchical view of the
universe is a hierarchical conception of the Earth
(sometimes referred to as the Chain of Being). During the Early Modern period, many people believed
that all of creation was organized hierarchically. God
existed at the top, followed by the angels, men,
women, animals, plants, and rocks. (Because all
women were thought to exist below all men on the
chain, we can easily imagine the confusion that Elizabeth I caused when she became queen of England.
She was literally “out of order,” an expression that
still exists in our society.) Though the concept of this
hierarchy is a useful one when beginning to study
Shakespeare, keep in mind that distinctions in this
hierarchical view were not always clear and that we
should not reduce all Early Modern thinking to a
simple chain.
9
patient (using leeches or cutting the skin) in order
to restore the balance.
Shakespeare’s contemporaries also believed that
the humors determined personality and temperament. If a person’s dominant humor was blood, he
was considered light-hearted. If dominated by yellow bile (or choler), that person was irritable. The
dominance of phlegm led a person to be dull and
kind. And if black bile prevailed, he was melancholy
or sad. Thus, people of Early Modern England often
used the humors to explain behavior and emotional
outbursts. Throughout Shakespeare’s plays, he uses
the concept of the humors to define and explain various characters.
In Henry IV, Part 1, for example, the short temper and hot-headedness of Hotspur are classic symptoms of someone dominated by choler. After one of
his angry outbursts (Act I, Scene 3) his father,
Northumberland, explicitly accuses him of being
“drunk with choler,” and in Act III, Scene 1, Hotspur’s wife tells him that he is “altogether governed
by humors” — that is, moody.
Elements and humors
The belief in a hierarchical scheme of existence created a comforting sense of order and balance that
carried over into science as well. Shakespeare’s contemporaries generally accepted that four different elements composed everything in the universe: earth,
air, water, and fire. People associated these four
elements with four qualities of being. These
qualities — hot, cold, moist, and dry — appeared in
different combinations in the elements. For example, air was hot and moist; water was cold and moist;
earth was cold and dry; and fire was hot and dry.
Religious context
In addition, people believed that the human
body contained all four elements in the form of
humors — blood, phlegm, yellow bile, and black
bile — each of which corresponded to an element.
Blood corresponded to air (hot and moist), phlegm
to water (cold and moist), yellow bile to fire (hot and
dry), and black bile to earth (cold and dry). When
someone was sick, physicians generally believed that
the patient’s humors were not in the proper balance.
For example, if someone were diagnosed with an
abundance of blood, the physician would bleed the
The Reformation
Until the Protestant Reformation, the only Christian church was the Catholic, or “universal,” church.
Beginning in Europe in the early sixteenth century,
religious thinkers such as Martin Luther and John
Calvin, who claimed that the Roman Catholic
Church had become corrupt and was no longer following the word of God, began what has become
known as the Protestant Reformation. The Protestants (“protestors”) believed in salvation by faith
Shakespeare lived in an England full of religious uncertainty and dispute. From the Protestant Reformation
to the translation of the Bible into English, the Early
Modern era is punctuated with events that have greatly
influenced modern religious beliefs.
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rather than works. They also believed in the primacy
of the Bible and advocated giving all people access
to reading the Bible.
Many English people initially resisted Protestant
ideas. However, the Reformation in England began
in 1527 during the reign of Henry VIII, prior to
Shakespeare’s birth. In that year, Henry VIII decided
to divorce his wife, Catherine of Aragon, for her failure to produce a male heir. (Only one of their children, Mary, survived past infancy.) Rome denied
Henry’s petitions for a divorce, forcing him to
divorce Catherine without the Church’s approval,
which he did in 1533.
The Act of Supremacy
The following year, the Pope excommunicated
Henry VIII while Parliament confirmed his divorce
and the legitimacy of his new marriage through the
Act of Succession. Later in 1534, Parliament passed
the Act of Supremacy, naming Henry the “Supreme
Head of the Church in England.” Henry continued
to persecute both radical Protestant reformers and
Catholics who remained loyal to Rome.
Henry VIII’s death in 1547 brought Edward VI,
his 10-year-old son by Jane Seymour (the king’s third
wife), to the throne. This succession gave Protestant
reformers the chance to solidify their break with the
Catholic Church. During Edward’s reign, Archbishop Thomas Cranmer established the foundation
for the Anglican Church through his 42 articles of
religion. He also wrote the first Book of Common
Prayer, adopted in 1549, which was the official text
for worship services in England.
Bloody Mary
Catholics continued to be persecuted until 1553,
when the sickly Edward VI died and was succeeded
by Mary, his half-sister and the Catholic daughter of
Catherine of Aragon. The reign of Mary witnessed
the reversal of religion in England through the
restoration of Catholic authority and obedience to
Rome. Protestants were executed in large numbers,
which earned the monarch the nickname Bloody
Mary. Many Protestants fled to Europe to escape
persecution.
Elizabeth, the daughter of Henry VIII and Anne
Boleyn, outwardly complied with the mandated
Catholicism during her half-sister Mary’s reign, but
she restored Protestantism when she took the throne
in 1558 after Mary’s death. Thus, in the space of single decade, England’s throne passed from Protestant
to Catholic to Protestant, with each change carrying
serious and deadly consequences.
A portrait of King Henry VIII, artist unknown, ca. 1542.
National Portrait Gallery, London/SuperStock
Though Elizabeth reigned in relative peace
from 1558 to her death in 1603, religion was still
a serious concern for her subjects. During Shakespeare’s life, a great deal of religious dissent existed
in England. Many Catholics, who remained loyal
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to Rome and their church, were persecuted for their
beliefs. At the other end of the spectrum, the Puritans were persecuted for their belief that the Reformation was not complete. (The English pejoratively
applied the term Puritan to religious groups that
wanted to continue purifying the English church
by such measures as removing the episcopacy, or the
structure of bishops.)
11
both the Bishop’s Bible, heard aloud in Mass, and the
Geneva Bible, which was written by English exiles in
Geneva. The last authorized Bible produced during
Shakespeare’s lifetime came within the last decade of
his life when James I’s commissioned edition, known
as the King James Bible, appeared in 1611.
Political context
Politics and religion were closely related in Shakespeare’s England. Both of the monarchs under whom
Shakespeare lived had to deal with religious and
political dissenters.
Elizabeth I
Despite being a Protestant, Elizabeth I tried to
take a middle road on the religious question. She
allowed Catholics to practice their religion in private
as long as they outwardly appeared Anglican and
remained loyal to the throne.
A portrait of Elizabeth I by George Gower, ca. 1588.
National Portrait Gallery, London/SuperStock
The Great Bible
One thing agreed upon by both the Anglicans
and Puritans was the importance of a Bible written in
English. Translated by William Tyndale in 1525, the
first authorized Bible in English, published in 1539,
was known as the Great Bible. This Bible was later
revised during Elizabeth’s reign into what was known
as the Bishop’s Bible. As Stephen Greenblatt points
out in his introduction to the Norton Shakespeare,
Shakespeare would probably have been familiar with
Elizabeth’s monarchy was one of absolute
supremacy. Believing in the divine right of kings, she
styled herself as being appointed by God to rule England. To oppose the Queen’s will was the equivalent
of opposing God’s will. Known as passive obedience,
this doctrine did not allow any opposition even to a
tyrannical monarch because God had appointed the
king or queen for reasons unknown to His subjects
on earth. However, as Bevington notes, Elizabeth’s
power was not as absolute as her rhetoric suggested.
Parliament, already well established in England,
reserved some power, such as the authority to levy
taxes, for itself.
Elizabeth I lived in a society that restricted
women from possessing any political or personal
autonomy and power. As queen, Elizabeth violated
and called into question many of the prejudices and
practices against women. In a way, her society forced
her to “overcome” her sex in order to rule effectively.
However, her position did nothing to increase the
status of women in England.
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One of the rhetorical strategies that Elizabeth
adopted in order to rule effectively was to separate
her position as monarch of England from her natural body — to separate her body politic from her body
natural. In addition, throughout her reign, Elizabeth
brilliantly negotiated between domestic and foreign
factions — some of whom were anxious about a
female monarch and wanted her to marry — appeasing both sides without ever committing to one.
She remained unmarried throughout her 45-year
reign, partially by styling herself as the Virgin Queen
whose purity represented England herself. Her refusal
to marry and her habit of hinting and promising
marriage with suitors both foreign and domestic
helped Elizabeth maintain internal and external
peace. Not marrying allowed her to retain her independence, but it left the succession of the English
throne in question. In 1603, on her deathbed, she
named James VI, King of Scotland and son of her
cousin Mary, as her successor.
James I
When he assumed the English crown, James VI of
Scotland became James I of England. (Some historians refer to him as James VI and I.) Like Elizabeth,
James was a strong believer in the divine right of kings
and their absolute authority.
Upon his arrival in London to claim the English
throne, James made his plans to unite Scotland and
England clear. However, a long-standing history of
enmity existed between the two countries. Partially
as a result of this history and the influx of Scottish
courtiers into English society, anti-Scottish prejudice
abounded in England. When James asked Parliament
for the title of “King of Great Britain,” he was
denied.
As scholars such as Bevington have pointed out,
James was less successful than Elizabeth was in negotiating between the different religious and political
factions in England. Although he was a Protestant,
he began to have problems with the Puritan sect of
the House of Commons, which ultimately led to a
rift between the court (which also started to have
Catholic sympathies) and the Parliament. This rift
between the monarchy and Parliament eventually
escalated into the Civil War that would erupt during the reign of James’s son, Charles I.
In spite of its difficulties with Parliament, James’s
court was a site of wealth, luxury, and extravagance.
James I commissioned elaborate feasts, masques, and
pageants, and in doing so he more than doubled the
royal debt. Stephen Greenblatt suggests that Shakespeare’s The Tempest may reflect this extravagance
through Prospero’s magnificent banquet and accompanying masque. Reigning from 1603 to 1625,
James I remained the King of England throughout
the last years of Shakespeare’s life.
Social context
Shakespeare’s England divided itself roughly into two
social classes: the aristocrats (or nobility) and everyone else. The primary distinctions between these two
classes were ancestry, wealth, and power. Simply put,
the aristocrats were the only ones who possessed all
three.
Aristocrats were born with their wealth, but the
growth of trade and the development of skilled professions began to provide wealth for those not born
with it. Although the notion of a middle class did
not begin to develop until after Shakespeare’s death,
the possibility of some social mobility did exist in
Early Modern England. Shakespeare himself used the
wealth gained from the theatre to move into the
lower ranks of the aristocracy by securing a coat of
arms for his family.
Shakespeare was not unique in this movement,
but not all people received the opportunity to
increase their social status. Members of the aristocracy feared this social movement and, as a result,
promoted harsh laws of apprenticeship and fashion,
restricting certain styles of dress and material. These
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laws dictated that only the aristocracy could wear certain articles of clothing, colors, and materials.
Though enforcement was a difficult task, the Early
Modern aristocracy considered dressing above one’s
station a moral and ethical violation.
The status of women
The legal status of women did not allow them much
public or private autonomy. English society functioned on a system of patriarchy and hierarchy (see
“Universal hierarchy” earlier in this introduction),
which means that men controlled society beginning
with the individual family. In fact, the family
metaphorically corresponded to the state. For example, the husband was the king of his family. His
authority to control his family was absolute and
based on divine right, similar to that of the country’s
king. People also saw the family itself differently than
today, considering apprentices and servants part of
the whole family.
The practice of primogeniture — a system of
inheritance that passed all of a family’s wealth
through the first male child — accompanied this system of patriarchy. Thus women did not generally
inherit their family’s wealth and titles. In the absence
of a male heir, some women, such as Queen Elizabeth, did. But after women married, they lost almost
all of their already limited legal rights, such as the
right to inherit, to own property, and to sign contracts. In all likelihood, Elizabeth I would have lost
much of her power and authority if she had married.
Furthermore, women did not generally receive
an education and could not enter certain professions,
including acting. Instead, society relegated women
to the domestic sphere of the home.
There are only three females in Henry IV, Part
1: Mistress Quickly, Lady Mortimer, and Lady Percy.
(Each would, of course, originally have been played
by a young male actor in Elizabethan times.) Mistress Quickly is one of the low-life characters, the
hostess of a tavern. Her customers are happy to
13
banter and flirt with her, but they treat her with little respect. Falstaff, indeed, speaks of her as though
she were a prostitute. Lady Mortimer and Lady Percy
may be nobly born, but they are firmly excluded
from the decision-making of their husbands. In Lady
Mortimer’s case, this is emphasized by the fact that
she can speak only Welsh, which her husband cannot understand. Her father, Owen Glendower, has
to translate what she says to him, but when he is not
there, they communicate by loving looks. She offers
comfort and affection, but cannot possibly offer
advice. Lady Percy is much more spirited, but Hotspur, her husband, refuses to let her know of his
plans even though he acknowledges her trustworthiness: “constant you are, / but yet a woman.”
Daily life
Daily life in Early Modern England began before
sunup — exactly how early depended on one’s station in life. A servant’s responsibilities usually
included preparing the house for the day. Families
usually possessed limited living space, and even
among wealthy families multiple family members
tended to share a small number of rooms, suggesting that privacy may not have been important or
practical.
Working through the morning, Elizabethans usually had lunch about noon. This midday meal was the
primary meal of the day, much like dinner is for modern families. The workday usually ended around sundown or 5 p.m., depending on the season. Before an
early bedtime, Elizabethans usually ate a light repast
and then settled in for a couple of hours of reading
(if the family members were literate and could bear
the high cost of books) or socializing.
Mortality rates
Mortality rates in Early Modern England were high
compared to our standards, especially among infants.
Infection and disease ran rampant because physicians
did not realize the need for antiseptics and sterile
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equipment. As a result, communicable diseases often
spread very rapidly in cities, particularly London.
In addition, the bubonic plague frequently ravaged England, with two major outbreaks — from
1592–1594 and in 1603 — occurring during Shakespeare’s lifetime. People did not understand the
plague and generally perceived it as God’s punishment. (We now know that the plague was spread by
fleas and could not be spread directly from human
to human.) Without a cure or an understanding of
what transmitted the disease, physicians could do
nothing to stop the thousands of deaths that resulted
from each outbreak. These outbreaks had a direct
effect on Shakespeare’s career, because the government often closed the theatres in an effort to impede
the spread of the disease.
London life
In the sixteenth century, London, though small compared to modern cities, was the largest city of
Europe, with a population of about 200,000 inhabitants in the city and surrounding suburbs. London
was a crowded city without a sewer system, which
facilitated epidemics such as the plague. In addition,
crime rates were high in the city due to inefficient
law enforcement and the lack of street lighting.
Despite these drawbacks, London was the cultural, political, and social heart of England. As the
home of the monarch and most of England’s trade,
London was a bustling metropolis. Not surprisingly,
a young Shakespeare moved to London to begin his
professional career.
performances as locations of plague and riotous
behavior. Furthermore, because theatre performances
took place during the day, they took laborers away
from their jobs. Opposition to the theatres also came
from Puritans who believed that they fostered
immorality. Therefore, theatres moved out of the
city, to areas near other sites of restricted activities,
such as dog fighting, bear- and bull-baiting, and
prostitution.
Despite the move, the theatre was not free from
censorship or regulation. In fact, a branch of the government known as the Office of the Revels
attempted to ensure that plays did not present politically or socially sensitive material. Prior to each performance, the Master of the Revels would read a
complete text of each play, cutting out offending sections or, in some cases, not approving the play for
public performance.
Performance spaces
Theatres in Early Modern England were quite different from our modern facilities. They were usually
open-air, relying heavily on natural light and good
weather. The rectangular stage extended out into an
area that people called the pit — a circular, uncovered area about 70 feet in diameter. Audience members had two choices when purchasing admission to
a theatre. Admission to the pit, where the lower
classes (or groundlings) stood for the performances,
The theatre
Most theatres were not actually located within the
city of London. Rather, theatre owners built them
on the South bank of the Thames River (in Southwark) across from the city in order to avoid the strict
regulations that applied within the city’s walls. These
restrictions stemmed from a mistrust of public
The recently reconstructed Globe Theatre.
Chris Parker/PAL
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was the cheaper option. People of wealth could
purchase a seat in one of the three covered tiers of
seats that ringed the pit. At full capacity, a public theatre in Early Modern England could hold between
2,000 and 3,000 people.
15
that faced a rectangular stage. Because only the
wealthy could afford the cost of admission, the
public generally considered these theatres private.
Actors and staging
Performances in Shakespeare’s England do not appear
to have employed scenery. However, theatre companies developed their costumes with great care and
expense. In fact, a playing company’s costumes were
its most valuable items. These extravagant costumes
were the object of much controversy because some
aristocrats feared that the actors could use them to
disguise their social status on the streets of London.
The stage, which projected into the pit and
was raised about five feet above it, had a covered
portion called the heavens. The heavens enclosed
theatrical equipment for lowering and raising
actors to and from the stage. A trapdoor in the
middle of the stage provided theatrical graves for
characters such as Ophelia and also allowed ghosts,
such as Banquo in Macbeth, to rise from the earth.
A wall covered with a curtain (known as the arras)
Costumes also disguised a player’s gender. All
separated the back of the stage from the actors’
actors on the stage during Shakespeare’s lifetime
dressing room, known as the tiring house. (In Act
were men. Young boys whose voices had not
II, Scene 4, of Henry IV, Part 1, the Prince calls
reached maturity played female parts. This practice
upon Falstaff to conceal himself from the Sheriff
no doubt influenced Shakespeare’s and his conby hiding “behind the arras.”) At each end of the
temporary playwrights’ thematic explorations of
wall stood a door for major entrances and exits.
cross-dressing.
Above the wall and doors stood a gallery directly
above the stage, reserved
for the wealthiest spectators. Actors occasionally
used this area when a performance called for a difference in height — for
example, to represent
Juliet’s balcony or the walls
of a besieged city. A good
example of this type of theatre was the original Globe
Theatre in London in
which Shakespeare’s company, The Lord Chamberlain’s Men (later the King’s
Men), staged its plays.
However, indoor theatres,
such as the Blackfriars, difShakespeare in Love shows how the interior of the Globe would have appeared.
fered slightly because the Everett Collection
pit was filled with chairs
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Though historians have managed to reconstruct the appearance of the early modern theatre,
such as the recent construction of the Globe in
London, much of the information regarding how
plays were performed during this era has been lost.
Scholars of Early Modern theatre have turned to
the scant external and internal stage directions in
manuscripts in an effort to find these answers.
Indeed, even the division of the text of Shakespeare’s plays into scenes is often a matter of later
editorial convention, and sometimes dispute. The
last act of Henry IV, Part 1, contains five scenes,
but because the action is continuous, this has no
significance in performance. The text used for this
edition includes many stage directions and indications of location that are traditionally accepted but
have been deduced from the words said by the
characters. Although a hindrance for modern critics and scholars, the lack of detail about Early
Modern performances has allowed modern directors and actors a great deal of flexibility and room
to be creative.
would fix the piece or pieces of type. Printers called
corrections made after printing began stop-press corrections because they literally had to stop the press
to fix the error. Because of the high cost of paper,
printers would still sell the sheets printed before they
made the correction.
Printers placed frames of text in the bed of the
printing press and used them to imprint the paper.
They then folded and grouped the sheets of paper
into gatherings, after which the pages were ready for
sale. The buyer had the option of getting the new
play bound.
The printing press
The printing process was crucial to the preservation of Shakespeare’s works, but the printing of
drama in Early Modern England was not a standardized practice. Many of the first editions of
Shakespeare’s plays appear in quarto format and,
until recently, scholars regarded them as “corrupt.”
In fact, scholars still debate how close a relationship
exists between what appeared on the stage in the sixteenth and seventeenth centuries and what appears
on the printed page. The inconsistent and scant
appearance of stage directions, for example, makes it
difficult to determine how close this relationship was.
If not for the printing press, many Early Modern
plays may not have survived until today. In Shakespeare’s time, printers produced all books by sheet —
a single large piece of paper that the printer would
fold in order to produce the desired book size. For
example, a folio required folding the sheet once, a
quarto four times, an octavo eight, and so on. Sheets
would be printed one side at a time; thus, printers
had to simultaneously print multiple nonconsecutive pages.
We know that the practice of the theatre allowed
the alteration of plays by a variety of hands other
than the author’s, further complicating any efforts to
extract what a playwright wrote and what was
changed by either the players, the printers, or the
government censors. Theatre was a collaborative
environment. Rather than lament our inability to
determine authorship and what exactly Shakespeare
wrote, we should work to understand this collaborative nature and learn from it.
In order to estimate what section of the text
would be on each page, the printer would cast off
copy. After the printer made these estimates, compositors would set the type upside down, letter by letter. This process of setting type produced textual
errors, some of which a proofreader would catch.
When a proofreader found an error, the compositors
Shakespeare wrote his plays for the stage, and
the existing published texts reflect the collaborative
nature of the theatre as well as the unavoidable
changes made during the printing process. A play’s
first written version would have been the author’s
foul papers, which invariably consisted of blotted lines
and revised text. From there, a scribe would recopy
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Introduction to King Henry IV, Part 1
the play and produce a fair copy. The theatre manager would then copy out and annotate this copy
into a playbook (what people today call a promptbook).
At this point, scrolls of individual parts were
copied out for actors to memorize. (Due to the high
cost of paper, theatre companies could not afford to
provide their actors with a complete copy of the
play.) The government required the company to send
the playbook to the Master of the Revels, the government official who would make any necessary
changes or mark any passages considered unacceptable for performance.
Printers could have used any one of these copies
to print a play. We cannot determine whether a
printer used the author’s version, the modified theatrical version, the censored version, or a combination when printing a given play. Refer back to the
“Publications” section of the Introduction to William
Shakespeare for further discussion of the impact
printing practices has on our understanding of
Shakespeare’s works.
Works cited
For more information regarding Early Modern
England, consult the following works:
Bevington, David. “General Introduction.” The
Complete Works of William Shakespeare. Updated
Fourth edition. New York: Longman, 1997.
Greenblatt, Stephen. “Shakespeare’s World.” Norton
Shakespeare. New York: W.W. Norton and Co.,
1997.
Kastan, David Scott, ed. A Companion to Shakespeare. Oxford: Blackwell, 1999.
McDonald, Russ. The Bedford Companion to Shakespeare: An Introduction with Documents. Boston:
Bedford-St. Martin’s Press, 1996.
17
INTRODUCTION TO KING
HENRY IV, PART 1
King Henry IV, Part 1 has always been one of Shakespeare’s most well-loved plays. It was probably first
performed in 1597, when Shakespeare’s company is
thought to have been working in several playhouses,
including the Curtain and the Swan. Quarto editions
of the play were printed in 1598 (twice), 1599, 1604,
1608, 1613, and 1622. The First Folio edition, upon
which this text is based, was published in 1623. Further quartos appeared in 1632 and 1639. This large
number of early printings is evidence that the play
was frequently acted and that it was certainly a commercial success. It has been popular ever since.
Much of this popularity can be attributed to the
fact that the play contains one of Shakespeare’s most
enduring comic creations, Falstaff. The earliest title
page calls the play:
THE
HISTORY OF
HENRIE THE
FOVRTH;
With the battell at Shrewsburie,
between the King and Lord
Henry Percy, surnamed
Henrie Hotspur of
the North.
With the humorous conceits of Sir
Iohn Fastalffe.
Falstaff gets a mention; Prince Hal, who is really
the play’s hero, does not. From his first invention,
Falstaff was a crowd-puller, and Shakespeare put him
into The Merry Wives of Windsor as well as King
Henry IV, Part 2. Referring to Falstaff on the title
page was the equivalent of advertising a modern play
or show by putting the name of one of its starring
actors in lights. And Shakespeare drew the
character of Falstaff so impressively that he has taken
life beyond the plays that contained him. The nineteenth century Italian composer Verdi wrote a
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much-loved opera about Falstaff, with his name for
its title; and the word “Falstaffian” (meaning “fat,
jolly, and dissolute”) is now to be found in the
English dictionary.
Shakespeare’s history plays
Although Henry IV, Part 1 contains important and
attractive elements of comedy, it is concerned with
much more serious matters, too. It is a history play,
one of a series Shakespeare wrote (including Richard
II; Henry IV, Part 1; Henry IV, Part 2, and Henry V )
and which together make up a tetralogy (from the
Greek word “tetra,” meaning “four”). To appreciate
Henry IV, Part 1 properly, one needs to understand
what is meant by the term “history play” when we
use it in reference to Shakespeare. Many of Shakespeare’s plays deal with historical events, but not all
of them are classified as “histories.” Antony and
Cleopatra and Macbeth, for example, are numbered
among the tragedies, because, although they deal
with true stories from the past, their real interest is
in the tragic downfall of the great characters at the
center of the events, not in informing the audience
of historical facts, which Shakespeare readily changes
or embellishes to suit his purpose.
But Shakespeare takes such liberties in his history plays, too. What unites them is not a respect for
accuracy, but a common subject that is reflected in
their titles: kingship.
Shakespeare’s sources and
how he uses them
The principle source for the main plot of Henry IV,
Part 1 was probably the second edition of Raphael
Holinshed’s Chronicles (published in 1587), but there
were many other ways in which the history of the
troubled reign of King Henry were known to
Shakespeare and his contemporaries. Shakespeare
knew and used several works that chronicled those
times, including Samuel Daniel’s The Civil War
Between the Two Houses of Lancaster and Yorke,
Edward Hall’s The Union of the two noble and illustre families of Lancaster and Yorke, and Stowe’s Annals
as well as other plays including The Famous Victories
of Henry The Fifth, a rambling and anonymous work.
There was also an oral tradition including ballads
and tales that kept alive the story of Henry’s struggle to keep the crown he had taken. One of the most
significant ways in which Shakespeare manipulates
his sources is in making Hotspur and Hal the same
age, when in reality many years separated them. The
historical Hotspur was born before Hal’s father.
Knowing that Shakespeare manipulated the ages of
these two characters is a clear indication that he
intended them to contrast with each other in the
play. He also alters the time scale of historical events
to suit his purposes. Henry IV, Part 1 begins by portraying events that took place in 1400, and ends with
the Battle of Shrewsbury, which was fought in 1403.
There is no sense of such time passing in the play.
Shakespeare condenses history to achieve pace and
urgency, as well as maintain interest.
Some of the characters and events are pure
invention, of course, particularly the tavern scenes
and the people that appear in them. Shakespeare
took a germ of reality into his imagination and transformed it into something of his own. The character
of Falstaff, one of his finest, was suggested by the
real-life Sir John Oldcastle (and that was the fictional
character’s name, too, in the earliest draft of the
play). But the real Sir John Oldcastle was nothing
like Shakespeare’s character, except that according to
Foxe’s Acts and Monuments (1563) he confessed at
his trial for heresy that as a youth he had been given
to “Pride, Wrathe, and Glottony, . . . Covetousnes
and . . . Lechery” before he was condemned to a martyr’s death for his religious beliefs.
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Outline of the tetralogy: The
context of Henry IV, Part 1
In order to understand and appreciate Shakespeare’s
purpose in Henry IV, Part 1, it is helpful to see how
it fits in with the other three plays that together make
up Shakespeare’s story of the kingdom from the reign
of King Richard II to the reign of King Henry V.
This is not to say that the play cannot be appreciated
by itself, of course; only that taking a brief look at it
in its broader context makes it easier to see what
Shakespeare is trying to achieve.
The problem at the heart of the tetralogy is the
problem of kingship. If a king is a king because God
made him one, as Elizabethans believed, what is to
be done if he is a bad king? In Richard II, Shakespeare shows us a king who is unquestionably legitimate, but who is weak and ill-suited to the job. At
the end of the play, he is deposed by Bolingbroke,
who takes the throne as Henry IV. Richard is presented as an inadequate but rightful king. The sympathy of the audience is split. However, the audience
is also shown how Richard is the author of his own
destruction. When he seizes the property of John of
Gaunt, the rightful inheritance of Bolingbroke, he
acts against the very hereditary principle by which
he and all monarchs reign. And the language he uses
when he gives up the throne also suggests that he is
acting against the will of God by abandoning his
duty: He effectively “un-consecrates” himself, in a
speech that is pitiful but almost blasphemous.
In Henry IV, Part 1, we see the consequence of
this breakdown of order. Chaos and bloodshed follow it, as surely as night follows day. The main plot
of the play is the story of the growing rebellion
against the king who has usurped the throne. But as
the rebellion grows in strength, so does Henry grow
in kingly stature. And the more the rebels rebel, the
more disunited they become. They rapidly descend
into infighting, and a victory for them would seem
to promise chaos. The way out of this opposition of
two tainted causes is through the virtue of Henry’s
19
son, Prince Hal. It is his bravery and sense of duty
that significantly contribute to the defeat of the
rebels at the Battle of Shrewsbury, and in the last play
in the series, Henry V, he becomes the legendary
warrior-king whose heroic virtues finally make up
for the sin his father committed in deposing Richard.
The price he pays is to give up the easy-going life of
good-natured merry-making he enjoys with Falstaff
and his friends of the tavern. Through his selfsacrifice, the Prince achieves not only personal
redemption but he helps to achieve a victory of peace
and stability for the kingdom as a whole. Although
Henry IV, Part 1 is indeed about the events in the first
part of that king’s reign, its real dramatic center is
the developing character of that king’s son, Prince
Hal. This play, and the tetralogy as a whole, could,
some suggest, be called “The Making of Henry V.”
The plot of Henry IV, Part 1
King Henry wants peace for the kingdom, and in
order to bind his people together he proposes a
crusade, a campaign of holy war against the infidels
who occupy the holy sites of Christianity in the
Middle East. This plan has to be shelved because of
news of a defeat and a victory at home. The rebellious Welsh, under Owen Glendower, have defeated
the forces of Edward Mortimer, Earl of March,
which had been sent to subdue them. Against the
rebellious Scots, though, the King’s forces, led by
Harry Hotspur (the son of the Earl of Northumberland), have won a great victory. But the King is angry
because Hotspur has refused to hand over any of the
captives he has taken, except one. The King summons Hotspur to account for himself.
Meanwhile, the King’s son and heir, Prince Hal,
has been spending his time not in affairs of state but
in taverns, leading a dissolute life in the company of
wasters, a group dominated by Sir John Falstaff. One
of this group, Ned Poins, proposes they should
together rob some travelers on the Canterbury road,
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and they all agree upon it; but Poins’ real plan is that
he and the Prince should hang back, let the others
commit the robbery, and then, heavily disguised, rob
the robbers themselves. This is what takes place, and
there is much amusement afterward, when Falstaff
tells a fantastic version of the events to justify himself. By this time, though, the audience already
knows that Prince Hal is determined to become a
reformed character and take his responsibilities seriously. After the laughter of the robbery trick, the
Prince is summoned to account for himself to his
father, and Hal and Hotspur act out a dry run of the
encounter to prepare the Prince for it.
Falstaff abuses this privilege by pressing into service
men who are wealthy enough to pay him to buy
themselves out again. The result is that the troops he
ends up with are pitifully inadequate.
As the forces gather for the battle, Hotspur is told
that his father is ill and can’t be there, but that he
advises him to carry on without him. Worse, Owen
Glendower and his men are still a fortnight’s march
away, and Worcester’s cavalry has not yet arrived. The
rebels are at a disadvantage. The King mercifully offers
peace to the rebels if they lay down their arms, but
Worcester refuses to pass on his offer. The battle takes
place, and the King’s forces win. Falstaff escapes by
When Hotspur appears before the King, he justifies his refusal to hand over the hostages to him
by explaining that the King’s messenger had
approached him while he was exhausted from the
fierce battle, and the messenger’s fancy talk and
dress annoyed him. Hotspur insists that he is loyal,
but he still refuses to hand over the rebels for ransom, because the King has refused to buy back the
Earl of Mortimer, who had been captured after his
defeat by the Welsh. Mortimer is Hotspur’s brotherin-law. Hotspur’s uncle, the Earl of Worcester, suggests that it would be a good idea to free all his
captives, and so win the support of the powerful
Douglas family in the growingopposition to the
King. Hotspur agrees. When the rebels meet in
Wales, it is clear that Hotspur and Owen Glendower don’t get along. Nevertheless, they are able
to agree upon how the kingdom will be divided
after they have defeated the King, at a battle
planned to take place at Shrewsbury.
At the meeting between the King and Prince Hal,
the King rebukes the Prince for his wayward ways,
but the Prince promises to mend them and offer loyal
support against the growing forces of rebellion. King
Henry promises him a chance to prove himself by
putting him at the head of an army. Back at the tavern, the banter is interrupted by the arrival of the
Prince, who gives Falstaff a commission in the army.
King Henry, as portrayed in a modern production.
Everett Collection
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21
pretending to be dead; Hotspur is killed by Hal. The
play ends, but there are other
rebels yet to be beaten.
Key themes
in the play
Kingship is a key theme, not
just of this play, but of the
tetralogy of which Henry IV,
Part 1 forms a part, and of
Shakespeare’s history plays
in general. Another important (and related) idea that
Shakespeare examines in this
play is honor, and the associated notions of courage, A modern production of King Henry IV, Part 1.
duty, responsibility, and Everett Collection
loyalty. These interrelated
relationship between parents and children (here,
themes are explored through the actions of almost
between the King and Prince Hal, and Northumall of the characters in the play, high and low. The
berland and Hotspur). The King’s initial disapdramatic climax of the play is the courageous manpointment by his son’s irresponsible addiction to
to-man struggle between two warriors, Hotspur and
revelry is underlined by the scene in which Falstaff
Hal. Each is motivated by his own view of what
and Hal act out the confrontation between father
honor demands of him; each is loyally defending the
and son. As the play develops, the King and the
rights of his family. Although Hal seems at first to
Prince become closer. Hotspur and his father,
have little care for his duties and responsibilities, he
though, are separated at the end, because Northumultimately comes to be the embodiment of each.
berland’s untimely illness prevents him from taking
Their struggle, of course, exemplifies another of
part in the battle in which Hotspur is killed.
Shakespeare’s recurrent interests: the conflict between
There is a sense in which this is also a morality
order and disorder.
play (a tale showing how God punishes the evil and
As in so many of Shakespeare’s plays, in Henry
rewards the good). Such plays were popular for genIV, Part 1, he examines the difference between
erations before Shakespeare. In morality plays, a repappearance and reality: Things in this life are often
resentative of mankind has to choose between the
not what they seem. Hal hides his nobler qualities,
right and the wrong way to lead his life. Morality
for example, and Falstaff pretends to be dead when
plays included one-sided characters personifying
he is alive. The play also focuses on another theme
virtues and vices that compete for the soul of man.
that Shakespeare explores in many other places: the
Falstaff is very much like several of the vices rolled
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into one, but he is unlike any of them in that he is
essentially an attractive character. It is Prince Hal
who, like “Everyman,” has to choose between good
and evil, and whose choice is an example to us all.
Shakespeare’s use of language:
Poetry and prose in Henry IV, Part 1
Shakespeare was not just a great playwright, but a
great poet, too, and a proper response to any of his
plays takes this into account. Shakespeare chooses
each word with a poet’s care. It is important to
appreciate not just what the characters say, but how
they say it. The metaphors or similes they use and
the images they put into our imagination work to
affect the way we judge characters and events. By
using images cumulatively, Shakespeare softens our
subconscious so that we are in the frame of mind he
intentionally creates. For example, in Henry IV,
Part 1, Shakespeare uses repeated images of bloodshed and war alongside references to what were then
thought of as unnatural events, like meteors and
comets. The irresistible suggestion is that the kingdom is suffering because the natural order has been
upset. A quite different example would be the endless comic variations on the way in which Falstaff ’s
fatness is described. At the end of the play, our imaginations have been crammed with so many word-pictures of Falstaff ’s appearance that he seems bigger
than any costume-padding could represent.
The use of imagery like this may be poetic, but
it is not confined to poetry. Much of the text of this
play is written in prose. Shakespeare sometimes puts
prose into his characters’ mouths to indicate that
they are low-born, or crude, and sometimes he gives
it to grander characters, to show them at ease and
informal. When Prince Hal is enjoying himself with
his tavern companions, he speaks with them in prose.
When he is at his most princely, he speaks in verse.
But most often, Shakespeare’s characters speak in
verse, a form of elevated speech that can convey a
character’s nobility or the intensity of his emotions.
In order to appreciate this play properly, it is necessary to understand the way that Shakespeare uses
these two contrasting styles. The “Commentary” section of these notes explains this in more detail.
The verse Shakespeare uses is blank verse,
unrhymed iambic pentameters. These terms may
seem foreign and complicated, but the idea is easy
enough to understand. An iambus is a unit of poetry
(referred to as a “foot”), which is made up of two syllables — an unstressed followed by a stressed, like
the word “today.” A pentameter is a line made up of
five of these feet, so the rhythm of a typical line of
Shakespearean verse would run: te-tum | te-tum | tetum | te-tum | te-tum. The conventional way of
marking meters is to mark a small x over unstressed
syllables, and mark a forward-slash over stressed syllables, with each foot separated by a vertical line: x /
| x / | x / | x / | x / . The first line of Henry IV, Part 1
can serve as an example:
x / | x /| x / | x / | x /
So sha | -ken as | we are, | so wan | with care.
Such verse is not meant to be read with a jerky
“te-tum, te-tum” emphasis, of course. The rhythmic
pattern should be below the surface. Blank verse is
unrhymed, but Shakespeare tends to use rhymed
pairs of lines (called couplets) to mark the ending of
a scene — a useful device in Elizabethan times,
because there was no curtain at the front of his stage
to signify the end of a scene.
Characters in the play
One of the reasons that Shakespeare is such a great
writer is that he creates characters that show that he
has a deep understanding of and sympathy for the
human condition. He tends to show us a character,
lead us to form a judgment, and then show us something that makes us realize we have judged too easily or too harshly. Life is a complicated business, and
we judge each other at our peril. Falstaff is an
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attractive rogue, whose wit and sense of fun in
friendship make us admire him, and it is indeed
comic to see how his clever instincts preserve him
even in the serious world of war; but we are not
allowed to overlook that the cost of his selfishness is
the deaths of the men he sends unprepared into battle. Hotspur is rude, impetuous, and immature; but
he dies nobly, and the Prince acknowledges his
virtues at length.
Shakespeare allows us to look at different sides
of the characters he creates by providing a number
of parallels and contrasts. He distorts history to make
Hotspur and Prince Hal the same age, so that we
cannot avoid comparing one with the other. Many
23
other such parallels can be found in the play: the
relationships Hal and Hotspur have with their
fathers; the relationships of Hotspur and Mortimer
with their respective wives; the egotism of Glendower
and Hotspur that takes shape in very different ways;
the courage of the Prince when he faces Hotspur,
compared with Falstaff ’s fear of Hotspur even when
he is dead. A critical appreciation of the main characters and how they are contrasted is developed more
fully in the “Commentary” section of this edition.
Meanwhile, the following brief notes, along with the
“Character Web” in this book, are intended to help
the reader understand the role of each character and
how they relate to each other.
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Characters in the Play
CHARACTERS IN THE PLAY
The Court
The Rebels
Blunt
Douglas
Vernon
Archbishop of
York
Sir Michael
allie
l to
loya
Northumberland
brothers
Worcester
father
Owen Glendower
father
son
Henry IV
father
Prince John
married
Lady Percy
sister &
brother
Mortimer
married
son
son
Hotspur
daughter
loya
l
to
s
a llie s
Westmoreland
Prince Hal
Lady Mortimer
friends
Falstaff
Bardolph
Peto
Mistress Quickly
Poins
Gadshill
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CLIFFSCOMPLETE
ACT I
Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Prince And like bright metal on a sullen ground.
My reformation, glittering o’er my fault,
Shall show more goodly and attract more eyes
Than that which hath no foil to set it off.
I’ll so offend, to make offence a skill,
Redeeming time when men think least I will.
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Act I,
Scene 1
Act I, Scene 1
27
King Henry complains of the unsettled state of his kingdom and receives
news of rebellions in Scotland and Wales. He praises the courage of
Hotspur, but sends for him to account for his apparent disobedience.
ACT I, SCENE 1
London, the palace.
NOTES
[Enter KING HENRY, LORD JOHN OF LANCASTER,
THE EARL OF WESTMORELAND, SIR WALTER
BLUNT, and Others.]
King So shaken as we are, so wan with care,
Find we a time for frighted peace to pant,
And breathe short-winded accents of new broils
To be commenced in stronds afar remote.
No more the thirsty entrance of this soil
Shall daub her lips with her own children’s blood;
No more shall trenching war channel her fields,
Nor bruise her flowerets with the armed hoofs
Of hostile paces: those opposed eyes,
Which, like the meteors of a troubled heaven,
All of one nature, of one substance bred,
Did lately meet in the intestine shock
And furious close of civil butchery
Shall now, in mutual well-beseeming ranks,
March all one way and be no more opposed
Against acquaintance, kindred and allies:
The edge of war, like an ill sheathed knife,
No more shall cut his master. Therefore, friends,
As far as to the sepulchre of Christ,
Whose soldier now, under whose blessed cross
We are impressed and engaged to fight,
Forthwith a power of English shall we levy;
To chase these pagans in those holy fields
Over whose acres walk’d those blessed feet
Which fourteen hundred years ago were nail’d
For our advantage on the bitter cross.
But this our purpose now is twelve months old,
And bootless ’tis to tell you we will go:
Therefore we meet not now. Then let me hear
Of you, my gentle cousin Westmoreland,
1.
we: kings traditionally use the first person plural
forms (“we,” “us,” “our”) and not the singular (“I,”
“me,” “my”). It suggests that they speak for and
embody their whole kingdom.
2.
peace to pant: metaphor (personification) expressing breathlessness of a peace that has been frightened away; relate to “breathe short-winded
accents” in line 3.
3.
broils: conflicts.
4.
stronds: strands, shores.
8.
flowerets: young men in the flower of their
manhood.
9.
hostile paces: enemy footsteps (hoofs indicates
horses’ paces).
10.
meteors: traditionally regarded as signs of impending disaster.
12.
intestine: internal; refers to domestic or internecine
strife (suggests belly blows).
13.
close: grappling struggle.
14.
mutual well-beseeming ranks: more fittingly marching together against a common external foe than
marching against one another.
17–18.
edge of war . . . cut his master: a metaphor and a
simile to express the damage civil war does to all
sides involved.
19.
sepulchre: tomb in the Holy Land in which Christ’s
body was laid prior to the resurrection. Crusaders
sought to return it to Christian keeping.
21.
impressed: pressed into (service) or conscripted.
22.
power: army.
5
10
15
20
25
levy: raise.
30
23.
pagans: Saracens here, though they were not pagan
in the strict sense of the term, but Mohammedan.
28.
bootless: pointless.
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Act I, Scene 1
What yesternight our council did decree
In forwarding this dear expedience.
Westmoreland My liege, this haste was hot in question,
And many limits of the charge set down
But yesternight: when all athwart there came
A post from Wales loaden with heavy news;
Whose worst was, that the noble Mortimer,
Leading the men of Herefordshire to fight
Against the irregular and wild Glendower,
Was by the rude hands of that Welshman taken,
A thousand of his people butchered;
Upon whose dead corpse there was such misuse,
Such beastly shameless transformation,
By those Welshwomen done as may not be
Without much shame retold or spoken of.
35
32.
expedience: expedition hastily undertaken.
35.
but: only.
athwart: contrary to.
40
36.
post: messenger.
39.
irregular: not following the rules of war.
40.
rude: rough and uncivilized.
42.
corpse: corpses.
43.
transformation: Welsh women were accused of
castrating the English corpses.
48.
This matched . . . did: This unfortunate news
accompanied by other bad tidings caused the Crusade to have been postponed.
51.
Holy-rood day: September 14, the day on which
the discovery of Christ’s cross (or “rood”) is
commemorated.
54.
Holmedon: place near the Scots border.
59.
contention: rival claim and struggle.
64.
seat: home, headquarters; in this case, palace.
66.
discomfited: defeated (literally put out of his
comfort).
68.
Balk’d: piled up in balks or ridges.
45
King It seems then that the tidings of this broil
Brake off our business for the Holy Land.
Westmoreland This match’d with other did, my
gracious lord;
For more uneven and unwelcome news
Came from the north and thus it did import:
On Holy rood day, the gallant Hotspur there,
Young Harry Percy and brave Archibald,
That ever valiant and approved Scot,
At Holmedon met,
Where they did spend a sad and bloody hour;
As by discharge of their artillery,
And shape of likelihood, the news was told;
For he that brought them, in the very heat
And pride of their contention did take horse,
Uncertain of the issue any way.
King Here is a dear, a true industrious friend,
Sir Walter Blunt, new lighted from his horse,
Stained with the variation of each soil
Betwixt that Holmedon and this seat of ours;
And he hath brought us smooth and welcome news.
The Earl of Douglas is discomfited:
Ten thousand bold Scots, two and twenty knights,
Balk’d in their own blood did Sir Walter see
On Holmedon’s plains. Of prisoners, Hotspur took
50
55
60
65
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Mordake the Earl of Fife, and eldest son
To beaten Douglas; and the Earl of Athol,
Of Murray, Angus, and Menteith.
And is not this an honourable spoil?
A gallant prize? ha, cousin, is it not?
Westmoreland In faith,
It is a conquest for a prince to boast of.
King Yea, there thou makest me sad and makest
me sin
In envy that my Lord Northumberland
Should be the father to so blest a son,
A son who is the theme of honour’s tongue;
Amongst a grove, the very straightest plant;
Who is sweet Fortune’s minion and her pride:
Whilst I, by looking on the praise of him,
See riot and dishonour stain the brow
Of my young Harry. O that it could be proved
That some night tripping fairy had exchanged
In cradle clothes our children where they lay,
And called mine Percy, his Plantagenet!
Then would I have his Harry, and he mine.
But let him from my thoughts. What think you, coz,
Of this young Percy’s pride? the prisoners,
Which he in this adventure hath surprised,
To his own use he keeps; and sends me word,
I shall have none but Mordake Earl of Fife.
Westmoreland This is his uncle’s teaching: this is
Worcester,
Malevolent to you in all aspects;
Which makes him prune himself, and bristle up
The crest of youth against your dignity.
King But I have sent for him to answer this;
And for this cause awhile we must neglect
Our holy purpose to Jerusalem.
Cousin, on Wednesday next our council we
Will hold at Windsor, so inform the lords:
But come yourself with speed to us again;
For more is to be said and to be done
Than out of anger can be uttered.
Westmoreland I will, my liege. [Exeunt.]
Act I, Scene 1
29
70
73.
spoil: prize won in battle.
80.
the theme of honour’s tongue: spoken of as being
honorable.
82.
minion: darling (favorite).
84.
riot: wild living.
86.
night-tripping fairy: Henry wishes that a fairy had
exchanged his son for Percy’s (Northumberland’s)
when they were babes in their cradles.
88.
Plantagenet: the family name of the royal house of
Anjou (France) to which Henry IV belonged.
90.
coz: affectionate abbreviation for cousin.
97.
prune: preen
98.
crest: i.e., of a bird; the plume on a helmet is also
suggested.
75
80
85
90
95
100
105
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Act I, Scene 1
COMMENTARY
he mood is solemn; the King is troubled. His plans for
T
a crusade to the Holy Land have to be put off
because there has been so much civil unrest. Rebellions
have arisen in the north, in Scotland, and in the west, in
Wales. The Welsh, under the wild leadership of Owen
Glendower, have savagely defeated the troops that
were sent to subdue them. The Scots, however, have
been beaten; but the commander of the victorious English army, Henry Percy, known as Hotspur, has refused
to hand over most of his captives to the King.
Even so, King Henry admires Hotspur for his courage
and honor, qualities he wishes were displayed by his
own son and heir, Henry, Prince of Wales (known as
Prince Hal), who has a reputation for loose living and
irresponsibility. Shakespeare twists history to make Hal
and Hotspur the same age, so that their characters can
be closely contrasted throughout the play. (The historical Hotspur was born in 1364, three years before Hal’s
father was born. The real Prince Hal was born in 1387.)
Hotspur’s defiance of the King is explained by Westmoreland, King Henry’s loyal and level headed adviser:
Hotspur is under the influence, it seems, of his uncle,
the Earl of Worcester, who hates King Henry. Worcester is summoned to account for himself.
Shakespeare first portrays Henry IV as a responsible monarch who wants peace for his kingdom
and who is much troubled not only by the difficulties
A Crusader, so called because of the cross they wore on their shields and surcoats.
Biblioteca Civica, Padua, Italy/SuperStock
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he has in achieving it now, but also by
thoughts of what will happen when his
ill-disciplined son inherits the throne.
Henry IV’s enthusiasm for the crusade shows a sense of duty to
God, as well as to his subjects,
although it also suggests
that he would welcome the
chance to take his mind off
the problems he has at
home by heading for the
Holy Land. These problems faced by Henry IV in his
homeland, and how they are
resolved, are to be the subject of the play.
The broom plant, the “planta genista,” which
gave the name “Plantagenet” to the Angevin
dynasty from which Henry was descended.
Its founder, Geoffrey IV, Count of Anjou, had
always worn a sprig of broom in his cap.
Act I, Scene 1
31
Shakespeare mentions three other major characters
(Hal, Hotspur, and Glendower), but does not yet bring
them into the play. Although it is up to the audience to
form opinions of these three men, Shakespeare affects
the way the audience judges them by adding many references to honor, loyalty, bravery, and duty through the
imagery of the first few speeches of this opening scene.
The play has begun in verse, in formal, elevated language, which reflects the dignity and rank of characters at court and the weightiness of the matters they
discuss.
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Act I, Scene 2
Act I,
Scene 2
The Prince and his friends at the tavern plan a robbery. He reveals that,
beneath his fun-loving exterior, he is concealing a serious and
responsible character that he will later reveal.
ACT I, SCENE 2
London, an apartment of the Prince’s.
NOTES
[Enter THE PRINCE OF WALES and FALSTAFF.]
Falstaff Now, Hal, what time of day is it, lad?
Prince Thou art so fat witted, with drinking of old
sack and unbuttoning thee after supper and sleeping
upon benches after noon, that thou hast forgotten to
demand that truly which thou wouldst truly know.
What a devil hast thou to do with the time of day.
Unless hours were cups of sack and minutes capons,
and the blessed sun himself a fair wench in flamecolour’d taffeta, I see no reason why thou should’st
be so superfluous to demand the time of day.
Falstaff Indeed you come near me now, Hal; for
we that take purses go by the moon and the seven
stars, and not by Phoebus, he ‘that wandering knight
so fair.’ And, I prithee, sweet wag, when thou art
king, as, God save thy grace, — majesty I should say,
for grace thou, wilt have none, —
3.
sack: white wine from Spain and the Canary
Islands.
7.
capons: specially fattened and castrated male
chicken.
9.
taffeta: lustrous kind of silk.
5
10
15
Prince What, none?
11.
you come near me: you come close to scoring a
point.
12.
the seven stars: the cluster of stars known as the
Pleiades.
13.
Phoebus: Greek name for the sun.
14.
wag: witty fellow.
15.
grace: a pun; a royal or ducal title, gracefulness
in the human sense, the grace of God, and the
prayer before eating, which is the “prologue” to
a meal.
21.
Marry: the lightest of oaths; by (the Virgin) Mary.
22.
squires of the night’s body: a euphemism for
highway-robbers.
23.
Diana: goddess of the moon and of hunting.
27.
chaste mistress: oxymoron; pun on “chased.”
Falstaff No, by my troth, not so much as will serve
to be prologue to an egg and butter.
Prince Well, how then? come, roundly, roundly.
Falstaff Marry, then, sweet wag, when thou art
king, let not us that are squires of the night’s body
be called thieves of the day’s beauty: let us be Diana’s foresters, gentlemen of the shade, minions of
the moon; and let men say we be men of good government, being governed, as the sea is, by our noble
and chaste mistress the moon, tinder whose countenance we steal.
20
25
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Prince Thou sayest well, and it holds well too; for
the fortune of us that are the moon’s men doth ebb
and flow like the sea, being governed, as the sea is,
by the moon. As, for proof, now: a purse of gold most
resolutely snatched on Monday night and most dissolutely spent on Tuesday morning; got with swearing
‘Lay by’ and spent with crying ‘Bring in’; now in as
low an ebb as the foot of the ladder and by and by
in as high a flow as the ridge of the gallows.
Act I, Scene 2
33
30
35
35.
Lay by: the cry of the highwayman to the driver of a
stagecoach: “Stand and deliver!”
Bring in: the cry of a customer making an order in a
tavern.
Falstaff By the Lord, thou sayest true, lad. And is
not my hostess of the tavern a most sweet wench.
Prince As the honey of Hybla, my old lad of the
castle. And is not a buff jerkin a most sweet robe of
durance?
Falstaff How now, how now, mad wag! what, in
thy quips and thy quiddities? what a plague have I
to do with a buff jerkin?
40
40.
Hybla: town in Sicily well-known for its honey.
old lad of the castle: a reference to Sir John Oldcastle (the name Shakespeare originally gave to Falstaff); perhaps also a reference to a real-life
Southwark brothel called “The Castle” and to inns
(the devil’s castles) in general.
45
44.
quips and thy quiddities: smart jokes and quibbles.
what a plague: what the heck.
Prince Why, what a plague have I to do with my
hostess of the tavern?
Falstaff Well, thou hast called her to a reckoning
many a time and oft.
Prince Did I ever call for thee to pay thy part?
50
Falstaff No; I’ll give thee thy due, thou hast paid
all there.
Prince Yea, and elsewhere, so far as my coin would
stretch; and where it would not, I have used my
credit.
Falstaff Yea, and so used it that, were it not here
apparent that thou art heir apparent — But, I prithee, sweet wag, shall there be gallows standing in
England when thou art king? and resolution thus
fobbed as it is with the rusty curb of old father
antic the law? Do not thou, when thou art king,
hang a thief.
55
60
Prince No; thou shalt.
Falstaff Shall I? O rare! By the Lord, I’ll be a
brave judge.
65
57.
here apparent . . . heir apparent: an obvious pun.
60.
fobbed: cheated.
60–61.
old father antic the law: a personification of the law
as a buffoon. “Antic” was the name of a clown in
Tudor comedy.
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Act I, Scene 2
Prince Thou judgest false already: I mean, thou
shalt have the hanging of the thieves and so become
a rare hangman.
Falstaff Well, Hal, well; and in some sort it jumps
with my humour as well as waiting in the court, I
can tell you.
Prince For obtaining of suits?
Falstaff Yea, for obtaining of suits, whereof the
hangman hath no lean wardrobe. ’Sblood, I am as
melancholy as a gib cat or a lugged bear.
69–70.
it jumps with my humour: it suits my mood.
72.
suits: lawsuits (see the pun with wardrobe).
74.
’Sblood: an oath: by Christ’s/God’s blood.
86.
rated: berated, told off.
91–92.
wisdom cries out in the streets, and no man
regards it: a biblical quotation (Proverbs 1,
20–24). The Prince caps Falstaff’s reference to it.
93.
damnable iteration: devilish habit of repeating
something (and twisting its meaning).
99.
an: if.
70
75
Prince Or an old lion, or a lover’s lute.
Falstaff Yea, or the drone of a Lincolnshire bag
pipe.
Prince What sayest thou to a hare, or the melancholy of Moor-ditch?
Falstaff Thou hast the most unsavoury similes and
are indeed the most comparative, rascalliest, sweet
young Prince. But, Hal, I prithee, trouble me no
more with vanity. I would to God thou and I knew
where a commodity of good names were to be
bought. An old lord of the council rated me the other
day in the street about you, sir, but I marked him
not; and yet he talked very wisely, but I regarded
him not; and yet he talked wisely, and in the street
too.
80
85
90
Prince Thou didst well; for wisdom cries out in
the streets, and no man regards it.
Falstaff O, thou hast damnable iteration and art
indeed able to corrupt a saint. Thou hast done much
harm upon me, Hal; God forgive thee for it! Before
I knew thee, Hal, I knew nothing; and now am I, if
a man should speak truly, little better than one of
the wicked. I must give over this life, and I will give
it over: by the Lord, an I do not, I am a villain; I’ll
be damned for never a king’s son in Christendom.
Prince Where shall we take a purse to-morrow, Jack?
95
100
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Act I, Scene 2
35
Falstaff ’Zounds, where thou wilt lad; I’ll make
one; an I do not, call me a villain and baffle me.
Prince I see a good amendment of life in thee;
from praying to purse-taking.
105
Falstaff Why, Hal, ’tis my vocation, Hal; ’tis no sin
for a man to labour in his vocation.
[Enter POINS.]
Poins! Now shall we know if Gadshill have set a
match. O! if men were to be saved by merit, what
hole in hell were hot enough for him? This is the
most omnipotent villain that ever cried ‘Stand’ to a
true man.
105.
amendment: change of heart and turning to better
behavior.
107.
vocation: used ironically for the calling of pursetaking.
112.
Stand: the cry of the highwayman (see line 35).
116.
Monsieur Remorse: Poins mocks at Falstaff’s
melancholy.
126.
cozening: cheating.
128.
Gadshill: both a place (as here) and a character’s
name. The coincidence is confusing and is probably
an error.
130.
vizards: masks.
132.
bespoke: ordered.
135.
crowns: five shilling pieces.
137.
Yedward: an affectionate, high-spirited version of
Edward.
110
Prince Good morrow, Ned.
Poins Good morrow, sweet Hal. What says
Monsieur Remorse? what says Sir John Sack and
Sugar? Jack! how agrees the devil and thee about
thy soul, that thou soldest him on Good-Friday last
for a cup of Madeira and a cold capon’s leg?
Prince Sir John stands to his word, the devil shall
have his bargain; for he was never yet a breaker of
proverbs; he will give the devil his due.
115
120
Poins Then art thou damned for keeping thy word
with the devil.
Prince Else he had been damned for cozening the
devil.
Poins But, my lads, my lads, to-morrow morning
by four o’clock, early at Gadshill! there are pilgrims
going to Canterbury with rich offerings, and traders
riding to London with fat purses: I have vizards for
you all; you have horses for yourselves: Gadshill
lies to-night in Rochester: I have bespoke supper tomorrow night in Eastcheap: we may do it as secure
as sleep. If you will go, I will stuff your purses full
of crowns; if you will not, tarry at home and be
hanged.
Falstaff Hear ye, Yedward; if I tarry at home and
go not, I’ll hang you for going.
125
130
135
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Act I, Scene 2
Poins You will, chops?
Falstaff Hal, wilt thou make one?
139.
chops: fat-face.
162.
thou latter spring . . . All hallown summer:
Falstaff engages in the sports of youth though he
is old. All Saints/All Hallows Day falls on
November 1, when summer weather would be
inappropriate.
167.
Gadshill: one of the thieves (not to be confused
with the place located between London and
Rochester, on the road to Canterbury).
140
Prince Who, I rob? I a thief? not I, by my faith.
Falstaff There’s neither honesty, manhood, nor
good fellowship in thee, nor thou camest not of the
blood royal, if thou darest not stand for ten shillings.
145
Prince Well then, once in my days I’ll be a madcap.
Falstaff Why, that’s well said.
Prince Well, come what will, I’ll tarry at home.
Falstaff By the Lord, I’ll be a traitor then, when
thou art king.
150
Prince I care not.
Poins Sir John, I prithee, leave the prince and me
alone: I will lay him down such reasons for this adventure that he shall go.
Falstaff Well, God give thee the spirit of persuasion and him the ears of profiting, that what thou
speakest may move and what he hears may be believed, that the true prince may, for recreation sake,
prove a false thief; for the poor abuses of the time
want countenance. Farewell: you shall find me in
Eastcheap.
155
160
Prince Farewell, thou latter spring! farewell,
All-hallown summer!
[Exit FALSTAFF.]
Poins Now, my good sweet honey lord, ride with us
to-morrow: I have a jest to execute that I cannot
manage alone. Falstaff, Bardolph, Peto and
Gadshill shall rob those men that we have already
waylaid; yourself and I will not be there; and when
they have the booty, if you and I do not rob them,
cut this head off from my shoulders.
Prince How shall we part with them in setting
forth?
165
170
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Poins Why, we will set forth before or after them,
and appoint them a place of meeting, wherein it is at
our pleasure to fail, and then will they adventure
upon the exploit themselves; which they shall have
no sooner achieved, but we’ll set upon them.
Prince Yea, but ’tis like that they will know us by
our horses, by our habits and by every other appointment, to be ourselves.
Poins Tut! our horses they shall not see; I’ll tie
them in the wood; our vizards we will change after
we leave them: and, sirrah, I have cases of buckram
for the nonce, to immask our noted outward garments.
Act I, Scene 2
37
175
180
184–185.
cases of buckram for the nonce: suits of coarse cloth
for the occasion.
190.
virtue: the essence or chief point.
191.
fat rogue: Falstaff.
193.
wards: defensive gestures.
198.
Eastcheap: the market district at the north end of
London Bridge.
203.
base contagious clouds: low-flying clouds (literally
earth-touching) that harbor disease.
185
Prince Yea, but I doubt they will be too hard for us.
Poins Well, for two of them, I know them to be as
true-bred cowards as ever turned back; and for the
third, if he fight longer than he sees reason, I’ll forswear arms. The virtue of this jest will be the incomrehensible lies that this same fat rogue will tell us
when we meet at supper: how thirty, at least, he
fought with; what wards, what blows, what extremities he endured; and in the reproof of this lies the
jest.
190
195
Prince Well, I’ll go with thee: provide us all things
necessary and meet me to-morrow night in
Eastcheap; there I’ll sup. Farewell.
Poins Farewell, my lord. [Exit.]
Prince I know you all, and will awhile uphold
The unyoked humour of your idleness:
Yet herein will I imitate the sun,
Who doth permit the base contagious clouds
To smother up his beauty from the world,
That, when he please again to be himself,
Being wanted, he may be more wonder’d at,
By breaking through the foul and ugly mists
Of vapours that did seem to strangle him.
If all the year were playing holidays,
To sport would be as tedious as to work;
200
205
210
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Act I, Scene 2
But when they seldom come, they wish’d-for come.
And nothing pleaseth but rare accidents.
So, when this loose behaviour I throw off
And pay the debt I never promised,
By how much better than my word I am,
By so much shall I falsify men’s hopes;
And like bright metal on a sullen ground.
My reformation, glittering o’er my fault,
I’ll so offend, to make offence a skill,
Redeeming time when men think least I will.
215
220
220.
no foil to set it off: nothing to contrast it with.
221.
make offence a skill: skillfully turn my misdeeds
into advantages when the right time comes.
COMMENTARY
he mood changes instantly in Scene 2. In direct conT
trast with the opening scene of the play, the characters now speak in prose, which is informal, relaxed,
and more like everyday speech. Shakespeare moves the
action away from the public world of kings and courtiers
talking of problems of state in grand language, and now
shows us two friends joking with and teasing each
other. Falstaff speaks first, addressing the Prince of
Wales, eldest son of King Henry and heir to his throne,
with striking intimacy. Falstaff calls him “Hal,” a familiar form of the name Henry, and in the same line calls
him “lad,” which emphasizes Falstaff’s age, the Prince’s
youth, and the closeness of their friendship. The Prince
replies in the same vein: He teases him in a way that
only a good friend would tolerate. Falstaff asks what
time it is, and Hal mocks him for asking, telling Falstaff
that he is such a lazy, muddle-headed, and self-indulgent eater, drinker, and womanizer that he has no need
to keep track of time. The speech of each is peppered
with light oaths such as “What a devil,” “Marry,” “By
the Lord,” and “what a plague.” These lines emphasize
the informality of their relationship and are very
unprincely.
Falstaff and Prince Henry exchange jokes and banter on the subject of highway robbery, especially at night.
We shall see the relevance of this later. Hal is evasive
about how he will behave when he eventually becomes
king, when it will be his duty to stamp out such crimes.
Hal does not allow such thoughts to spoil the enjoyment
of the moment, and Falstaff tells him how he is criticized
for keeping low company now. Poins, another of the
Prince’s drinking companions, enters, and he also teases
Falstaff for his faults. But when he speaks to Prince Hal,
he is not as overly familiar with him as Falstaff is, and
addresses him as “my lord.”
Poins tells the others that he has learned that some
wealthy pilgrims will be traveling to Canterbury the next
day and invites them to join in robbing them. He has a
plan worked out. Hal says he’s not interested; Falstaff
leaves, and Poins then tells the Prince his real plan: that
Hal and he should play a joke upon Falstaff and the others by waiting until they have robbed the travelers and
then, in disguise, stealing from them what they have
stolen. Poins and the Prince know that Falstaff and his
companions are cowards and braggarts, and it will be
amusing to hear how they report the incident afterward.
Hal agrees, and Poins exits, leaving the Prince alone on
the stage.
Hal then makes one of the most important speeches
of the play. It takes the form of a soliloquy, a conventional method of revealing a character’s thoughts to the
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audience, whom he addresses directly. (Today’s filmmakers use a similar device, when they show a shot of
a character’s unspeaking face with a voiceover of his
or her thoughts. In each case, the convention is that
what the character says is what he or she is genuinely
thinking.) Hal now speaks in blank verse, which reflects
the seriousness of what he is saying and emphasizes
that his mind is on higher things. He has been concealing his real character by keeping company with all these
idle tavern types. Hal says that he will be like the sun,
which seems even more magnificent and desirable
when it reappears from behind clouds and fogs that
have temporarily obscured its beauty. When people see
his own reformed character after it has been obscured
by his present and past behavior, it will be all the more
impressive for the contrast. The speech as a whole
offers a number of variations on the idea that familiarity breeds contempt, or that we appreciate things the
more if we have to do without them for a while. He has
a strong sense of duty, and when he shows himself in
his true colors, his “reformation” will be all the more
impressive and men will rally to his cause. He is biding
his time. The audience looks forward to the change but
doesn’t know when it will come.
This speech is so important partly because it underlines an important theme of the play: the difference
between appearance and reality. It also draws our
attention to the moral change we are to see in the
Prince: He will go through a “reformation,” a term
charged with religious significance that Elizabethan
audiences would have been quick to pick up (see the
“Religious Context” section of this edition’s “Introduction to Early Modern England”).
Act I, Scene 2
39
Shakespeare has also started the audience’s mind
working along specifically moral lines by putting references to “God,” “the Lord,” and “Christendom” into the
dialogue between Falstaff and the Prince. Their banter
(beginning at line 91) about the text “wisdom cries out
in the streets, and no man regards it” from the Book of
Proverbs in the Bible does the same. Falstaff’s response
to the Prince’s quotation is comic in its absurd evasion
of responsibility, but it is also full of the language of
Christian morality. For all the light-heartedness of the
occasion, the repetition of such terms such as “corrupt
as a saint,” “God forgive thee,” “one of the wicked,” “I’ll
be damned,” and “‘tis no sin” give a moral dimension to
their amusing mischief-making.
Shakespeare’s introduction of Falstaff, meanwhile,
is a strong one. Falstaff’s larger-than-life character and
appearance is emphasized not just by what he says and
does, but by how each of the other characters in the
scene talks about him. Poins, too, teases Falstaff for his
epic self-indulgence, addressing him as “Sir John Sack
and Sugar” and “Monsieur Remorse” in a probable reference to an alcoholic hangover. He also reminds Falstaff that he had jokingly sold his soul to the devil last
Good Friday — the most somber day in the Christian calendar, when Christ’s crucifixion is commemorated —
for a glass of wine and a leg of chicken. This jesting not
only emphasizes Falstaff’s love of food but keeps up the
pattern of religious diction. This language may be the
language of the Morality play (see the “Introduction”
section of this edition), but its tone is not as serious.
Even so, the audience has been drip-fed with the ideas
of the Judgment that awaits such vices, however
attractive they may seem for the moment.
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Act I, Scene 3
Act I,
Scene 3
Hotspur and the other Percys appear before the King, and harsh words
are exchanged. When the King leaves, they discuss their reasons for
hating and mistrusting him. Worcester reveals that there is a rebellion
planned against the King, and they all agree to it.
ACT I, SCENE 3
London, the palace.
NOTES
[Enter THE KING, NORTHUMBERLAND, WORCESTER, HOTSPUR, SIR WALTER BLUNT, with Others.]
King My blood hath been too cold and temperate,
Unapt to stir at these indignities,
And you have found me; for accordingly
You tread upon my patience: but be sure
I will from henceforth rather be myself,
Mighty and to be fear’d, than my condition;
Which hath been smooth as oil, soft as young down,
And therefore lost that title of respect
Which the proud soul ne’er pays but to the proud.
Worcester Our house, my sovereign liege, little
deserves
The scourge of greatness to be used on it;
And that same greatness too which our own hands
Have holp to make so portly.
2.
Unapt: disinclined.
3.
found me: i.e., found me so.
6.
my condition: my usual self.
5
10
10.
Our house: i.e., the Percies and their associates.
11.
scourge of greatness: i.e., the scourge (literally a
whip for inflicting punishment), which those in
power are able to authorize.
13.
holp: helped.
portly: weighty and important.
Northumberland My lord, —
King Worcester, get thee gone; for I do see
Danger and disobedience in thine eye:
O, sir, your presence is too bold and peremptory,
And majesty might never yet endure
The moody frontier of a servant brow.
You have good leave to leave us: when we need
Your use and counsel, we shall send for you.
15
peremptory: stubborn.
19.
moody frontier of a servant brow: frowning forehead of a servant.
20.
good leave: full permission.
26.
deliver’d: reported.
20
[Exit WORCESTER.]
You were about to speak. [To NORTHUMBERLAND.]
Northumberland
Yea, my good lord.
Those prisoners in your highness’ name demanded,
Which Harry Percy here at Holmedon took,
Were, as he says, not with such strength denied
17.
25
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Page 41
As is deliver’d to your majesty:
Either envy, therefore, or misprision
Is guilty of this fault and not my son.
Hotspur My liege, I did deny no prisoners.
But I remember, when the fight was done,
When I was dry with rage and extreme toil,
Breathless and faint, leaning upon my sword,
Came there a certain lord, neat and trimly dress’d,
Fresh as a bridegroom; and his chin new reap’d
Show’d like stubble-land at harvest-home;
He was perfumed like a milliner,
And ’twixt his finger and his thumb he held
A pouncet-box, which ever and anon
He gave his nose and took’t away again;
Who therewith angry, when it next came there,
Took it in snuff; and still he smiled and talk’d,
And as the soldiers bore dead bodies by,
He call’d them untaught knaves, unmannerly,
To bring a slovenly unhandsome corse
Betwixt the wind and his nobility.
With many holiday and lady terms
He question’d me; amongst the rest, demanded
My prisoners in your majesty’s behalf.
I then, all smarting with my wounds being cold,
To be so pester’d with a popinjay,
Out of my grief and my impatience
Answer’d neglectingly I know not what,
He should, or he should not; for he made me mad
To see him shine so brisk and smell so sweet
And talk so like a waiting-gentlewoman
Of guns and drums and wounds — God save the
mark —
And telling me the sovereign’st thing on earth
Was parmaceti for an inward bruise;
And that it was great pity, so it was,
This villainous salt-petre should be digg’d
Out of the bowels of the harmless earth,
Which many a good tall fellow had destroy’d
So cowardly; and but for these vile guns,
He would himself have been a soldier.
This bald unjointed chat of his, my lord,
41
Act I, Scene 3
27.
misprision: misunderstanding
communication.
38.
pouncet-box: snuff box. Relate to line 41.
44.
corse: corpse.
45.
Betwixt: between.
46.
holiday and lady terms: dainty and effeminate
phrases.
50.
popinjay: a parrot or, as here, a coxcomb. Note
the effect of scorn achieved by alliterating the p
consonant.
56.
God save the mark: the phrase here expresses
indignation
58.
parmaceti: spermaceti (obtained from whales).
60.
salt-petre: nitre (used in explosives and medicine).
or
error
of
30
35
40
45
50
55
60
65
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Act I, Scene 3
I answer’d indirectly, as I said;
And I beseech you, let not his report
Come current for an accusation
Betwixt my love and your high majesty.
Blunt The circumstance consider’d, good my lord,
Whate’er Lord Harry Percy then had said
To such a person and in such a place,
At such a time, with all the rest retold,
May reasonably die and never rise
To do him wrong or any way impeach
What then he said, so he unsay it now.
King Why, yet he doth deny his prisoners,
But with proviso and exception,
That we at our own charge shall ransom straight
His brother-in-law, the foolish Mortimer;
Who, on my soul, hath wilfully betray’d
The lives of those that he did lead to fight
Against that great magician, damn’d Glendower,
Whose daughter, as we hear, the Earl of March
Hath lately married. Shall our coffers, then,
Be emptied to redeem a traitor home?
Shall we buy treason? and indent with fears,
When they have lost and forfeited themselves?
No, on the barren mountains let him starve;
For I shall never hold that man my friend
Whose tongue shall ask me for one penny cost
To ransom home revolted Mortimer.
Hotspur Revolted Mortimer!
He never did fall off, my sovereign liege,
But by the chance of war; to prove that true
Needs no more but one tongue for all those wounds,
Those mouthed wounds, which valiantly he took,
When on the gentle Severn’s sedgy bank,
In single opposition, hand to hand,
He did confound the best part of an hour
In changing hardiment with great Glendower:
Three times they breathed, and three times did they
drink,
Upon agreement, of swift Severn’s flood;
69.
come current for: come rushing in as.
75.
impeach: question in an accusatory tone.
77.
yet: still.
78.
But: except.
84.
Earl of March: i.e., Mortimer.
94.
fall off: become a rebel or traitor.
97.
mouthed: gaping.
98.
Severn: the River that separates England and
southeast Wales.
70
75
80
85
90
95
Sedgy: bordered with reeds.
100
101.
changing hardiment: exchanging hard blows.
102.
drink: by accident (when they fell into the river).
By agreement is ironic.
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Who then, affrighted with their bloody looks,
Ran fearfully among the trembling reeds,
And hid his crisp head in the hollow bank
Bloodstained with these valiant combatants.
Never did base and rotten policy
Colour her working with such deadly wounds;
Nor never could the noble Mortimer
Receive so many, and all willingly:
Then let not him be slander’d with revolt.
King Thou dost belie him, Percy, thou dost belie
him;
He never did encounter with Glendower;
I tell thee,
He durst as well have met the devil alone
As Owen Glendower for an enemy.
Art thou not ashamed? But, sirrah, henceforth
Let me not hear you speak of Mortimer:
Send me your prisoners with the speediest means,
Or you shall hear in such a kind from me
As will displease you. My Lord Northumberland,
We license your departure with your son.
Send us your prisoners, or you will hear of it.
Act I, Scene 3
104.
Who then, affrighted: the river was frightened of
their wounded appearance and ran fearfully. This
figure of speech is called pathetic fallacy, in which
nature (the river) is made (by Shakepeare) capable
or responding (by running fearfully) to human emotions (the fighting Mortimer and Glendower). The
basic metaphor is sustained for several lines by such
words as head, color, and wounds.
110.
Nor never: a double negative, which, though
ungrammatical today, was emphatic in Elizabethan
usage.
113.
belie him: tell a lie about him.
121.
such a kind: in such a manner.
129.
choler: blind unreasoning rage.
131.
‘Zounds: an oath; corruption of “by God’s wounds.”
132.
want: lack; i.e., may I be damned.
105
110
43
115
120
[Exeunt KING HENRY, BLUNT, and Train.]
Hotspur An if the devil come and roar for them,
I will not send them: I will after straight
And tell them so; for I will ease my heart,
Albeit I make a hazard of my head.
Northumberland What, drunk with choler? stay
and pause awhile:
Here comes your uncle.
125
130
[Re-enter WORCESTER.]
Hotspur
Speak of Mortimer!
’Zounds, I will speak of him; and let my soul
Want mercy, if I do not join with him:
Yea, on his part I’ll empty all these veins,
And shed my dear blood drop by drop in the dust,
But I will lift the down-trod Mortimer
As high in the air as this unthankful king,
135
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Act I, Scene 3
As this ingrate and canker’d Bolingbroke.
137.
ingrate and canker’d Bolingbroke: ungrateful and
diseased. Hotspur scornfully refers to Henry by
the name by which he was known before he
became king.
146.
By Richard: A reference to Richard’s proclamation
that Mortimer was to succeed to the throne. This
happened shortly before Richard left for the Irish
Rebellion during which he was forced to return
to England where he was deposed, imprisoned,
and shortly afterwards murdered.
155.
scandalized: disgraced.
156.
soft: take it easy.
157.
brother: brother-in-law.
163.
subornation: inciting somebody else to commit a
crime; in this case, treason and regicide.
Northumberland Brother, the king hath made your
nephew mad.
Worcester Who struck this heat up after I was
gone?
Hotspur He will, forsooth, have all my prisoners;
And when I urged the ransom once again
Of my wife’s brother, then his cheek look’d pale,
And on my face he turn’d an eye of death,
Trembling even at the name of Mortimer.
Worcester I cannot blame him: was not he proclaim’d
By Richard, that dead is, the next of blood?
Northumberland He was; I heard the proclamation:
And then it was when the unhappy king, —
Whose wrongs in us God pardon! — did set forth
Upon his Irish expedition;
From whence he intercepted did return
To be deposed and shortly murdered.
Worcester And for whose death we in the world’s
wide mouth
Live scandalized and foully spoken of.
140
145
150
155
Hotspur But soft, I pray you; did King Richard
then
Proclaim my brother Edmund Mortimer
Heir to the crown?
Northumberland
He did; myself did hear it.
Hotspur Nay, then, I cannot blame his cousin
king,
That wish’d him on the barren mountains starve.
But shall it be, that you, that set the crown
Upon the head of this forgetful man
And for his sake wear the detested blot
Of murderous subornation, shall it be,
That you a world of curses undergo,
Being the agents, or base second means,
The cords, the ladder, or the hangman rather?
160
165
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O, pardon me, that I descend so low,
To show the line and the predicament
Wherein you range under his subtle king;
Shall it for shame be spoken in these days,
Or fill up chronicles in days to come,
That men of your nobility and power
Did gage them both in an unjust behalf
As both of you — God pardon it! — have done,
To put down Richard, that sweet lovely rose,
And plant this thorn, this canker, Bolingbroke?
And shall it in more shame be further spoken,
That you are fool’d, discarded and shook off
By him for whom these shames ye underwent?
No; yet time serves wherein ye may redeem
Your banish’d honours and restore yourselves
Into the good thoughts of the world again,
Revenge the jeering and disdain’d contempt
Of this proud king, who studies day and night
To answer all the debt lie owes to you
Even with the bloody payment of your deaths:
Therefore, I say, —
Worcester
Peace, cousin, say no more:
And now I will unclasp a secret book,
And to your quick-conceiving discontents
I’ll read you matter deep and dangerous,
As full of peril and adventurous spirit
As to o’er-walk a current roaring loud
On the unstead fast footing of a spear.
Hotspur If he fall in, good-night! or sink or swim:
Send danger from the east unto the west,
So honour cross it from the north to south,
And let them grapple: O, the blood more stirs
To rouse a lion than to start a bare!
Northumberland Imagination of some great exploit
Drives him beyond the bounds of patience.
Hotspur By heaven, methinks it were an easy leap,
To pluck bright honour from the pale-faced moon,
Or drive into the bottom of the deep,
Where fathom-line could never touch the ground,
Act I, Scene 3
45
170
173.
gage: pledge.
188.
unclasp a secret book: i.e., reveal a conspiracy.
193.
the unsteadfast footing of a spear: by balancing on
an unsteady spear.
196.
So: so long as, provided that.
175
180
185
190
195
200
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Act I, Scene 3
And pluck up drowned honour by the locks;
So he that doth redeem her thence might wear
Without corrival all her dignities:
But out upon this half-faced fellowship!
Worcester He apprehends a world of figures here,
But not the form of what he should attend.
Good cousin, give me audience for a while.
205
209–210.
He apprehends . . . attend: Worcester says that
Hotspur sees with his imagination what he
should do but is not capable of paying attention
to the practical details that are what he ought to
be attending to.
229.
gall and pinch: irritate and annoy.
230.
sword and buckler: insulting because these
weapons were used only by serving men and men
of inferior rank and fortune.
210
Hotspur I cry you mercy.
Worcester
Those same noble Scots
That are your prisoners, —
Hotspur
I’ll keep them all;
By God, he shall not have a Scot of them;
No, if a Scot would save his soul, he shall not:
I’ll keep them, by this hand.
215
Worcester
You start away
And lend no ear unto my purposes.
Those prisoners you shall keep.
Hotspur
Nay, I will; that’s flat.
He said he would not ransom Mortimer;
Forbad my tongue to speak of Mortimer;
But I will find him when he lies asleep,
And in his ear I’ll holla ‘Mortimer!’
Nay,
I’ll have a starling shall be taught to speak
Nothing but ‘Mortimer’, and give it him,
To keep his anger still in motion.
220
225
Worcester Hear you, cousin; a word.
Hotspur All studies here I solemnly defy,
Save how to gall and pinch this Bolingbroke:
And that same sword and buckler Prince of Wales,
But that I think his father loves him not
And would be glad he met with some mischance,
I would have him poison’d with a pot of ale.
Worcester Farewell, kinsman: I’ll talk to you
When you are better temper’d to attend.
Northumberland Why, what a wasp-stung and impatient fool
230
235
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Act I, Scene 3
47
Art thou to break into this woman’s mood,
Tying thine ear to no tongue but thine own!
Hotspur Why, look you, I am whipp’d and scourged
with rods,
Nettled and stung with pismires, when I hear
Of this vile politician, Bolingbroke.
In Richard’s time — what do you call the place? —
A plague upon it, it is in Gloucestershire,
’Twas where the madcap duke his uncle kept,
His uncle York; where I first bow’d my knee
Unto this king of smiles, this Bolingbroke, —
’Sblood! —
When you and he came back from Ravenspurgh.
240.
pismires: ants.
242.
what . . . place?: Hotspur cannot remember the
name of Berkley Castle, because he is so worked up.
248.
Ravenspurgh: the port at which Henry Bolingbroke
landed on returning from exile.
251.
candy deal of courtesy: the sweet politeness with
which Henry Bolingbroke treated Hotspur and the
other Percys in order to win their support. Note the
originality of the phrase and the effective alliteration of the c consonant.
255
255.
cozeners: cheaters. A pun on “kind cousin.”
260
260.
straight: immediately.
267.
prelate: clergyman of high rank.
240
245
Northumberland At Berkley castle.
Hotspur You say true:
Why, what a candy deal of courtesy
This fawning greyhound then did proffer me!
Look, ‘when his infant fortune came to age’,
And, ‘gentle Harry Percy’, and ‘kind cousin’;
O, the devil take such cozeners! God forgive me!
Good uncle, tell your tale; I have done.
250
Worcester Nay, if you have not, to it again;
We will stay your leisure.
Hotspur
I have done, i’ faith.
Worcester Then once more to your Scottish prisoners.
Deliver them up without their ransom straight,
And make the Douglas’ son your only mean
For powers in Scotland; which, for divers reasons
Which I shall send you written, be assured,
Will easily be granted. You, my lord, [To
Northumberland ]
Your son in Scotland being thus employ’d,
Shall secretly into the bosom creep
Of that same noble prelate, well beloved,
The archbishop.
265
Hotspur Of York, is it not?
Worcester True; who bears hard
His brother’s death at Bristol, the Lord Scroop.
270
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Act I, Scene 3
I speak not this in estimation,
As what I think might be, but what I know
Is ruminated, plotted and set down,
And only stays but to behold the face
Of that occasion that shall bring it on.
275
Hotspur I smell it: upon my life, it will do well.
Northumberland Before the game is afoot, thou
still let’st slip.
Hotspur Why, it cannot choose but be a noble plot:
And then the power of Scotland and of York,
To join with Mortimer, ha?
Worcester
280
And so they shall.
Hotspur In faith, it is exceedingly well aim’d.
Worcester And ’tis no little reason bids us speed,
To save our heads by raising of a head.
For, bear ourselves as even as we can,
The king will always think him in our debt,
And think we think ourselves unsatisfied,
Till he hath found a time to pay us home:
And see already how he doth begin
To make us strangers to his looks of love.
285
285.
head: an army.
289.
pay us home: pay us out.
295.
suddenly: immediately.
290
Hotspur He does, he does: we’ll be revenged on him.
Worcester Cousin, farewell: no further go in this
Than I by letters shall direct your course.
When time is ripe, which will be suddenly,
I’ll steal to Glendower and Lord Mortimer;
Where you and Douglas and our powers at once,
As I will fashion it, shall happily meet,
To bear our fortunes in our own strong arms,
Which now we hold at much uncertainty.
Northumberland Farewell, good brother: we shall
thrive, I trust.
Hotspur Uncle, adieu: O, let the hours be short
Till fields and blows and groans applaud our sport!
[Exeunt.]
295
300
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Act I, Scene 3
49
COMMENTARY
cene 3 returns to blank verse: Shakespeare starts
S
the action once more at court, to which the King has
summoned the Percy clan. The King is more determined
and decisive than when Shakespeare first introduced
him in Act I, Scene 1. He is resolved to act like a king
and take command of the events that have been troubling his realm.
Worcester speaks up for his “house,” the Percys,
and begins to sing its praises, but he is immediately
ordered away by the King for being too haughty.
Henry’s words of dismissal — “You have good leave to
leave us” — are a serious insult. He is determined not
to tolerate challenges to his rule.
King Henry then asks Northumberland what he has
to say for himself. Northumberland defends his son, Hotspur, against the charge that he had been disloyal by
refusing to deliver up the Scottish prisoners to the King.
Hotspur himself explains (without waiting to be asked)
that he had been outraged by the offensive manner of
the King’s envoy, who turned up at the end of the battle
in spotless fine clothes to make his demands in fancy
and unmanly language, with no respect for what the
warriors had been through. No wonder he answered this
lord’s demands “indirectly” (and no doubt angrily). This
situation was reported to the King as a refusal. The language Hotspur uses to describe the messenger’s manner and appearance is full of scorn. Calling him “fresh
as a bridegroom” is ironically insulting. The repeated letter “p” sound in “perfumed” and “pouncet” emphasizes
his contempt. (Linguists call “p” a “plosive” sound, and
its explosive qualities emphasize the mood of Hotspur’s
speech. He almost spits out the words.) The picture of
the messenger taking delicate pinches of snuff while
surrounded by the dead, dying, and wounded is vivid and
sickening. No wonder Hotspur reacted angrily to this
tactless envoy. Sir Walter Blunt, a loyal and fair-minded
supporter of the King, surely speaks for the audience
when he says that it would be unfair to hold Hotspur’s
hot words against him, given such provocation.
But Hotspur still hasn’t handed back the prisoners,
says the King, who goes on to insult “foolish Mortimer,”
Hotspur’s brother-in-law, pointing out that he not only
treacherously surrendered to the King’s great enemy,
Owen Glendower, but married his daughter. Henry has
no intention of ransoming him.
Hotspur reacts with fury to these insults to his sister’s husband, who he says fought hand-to-hand with
Glendower with great valor. Henry dismisses this report
as a lie, demands that Hotspur hand over the prisoners,
and leaves.
Hotspur is fuming, “drunk with choler,” as his father
puts it. He rages against the King, calling him “canker’d
Bolingbroke,” referring to him by his family name in a
way that shows he thinks of him not as a rightful King
but as a usurper. A discussion follows to remind the
audience of how Henry got the throne. His predecessor,
Richard II, had named Mortimer as his successor before
Richard was imprisoned and murdered, leaving Bolingbroke to claim it. That, says Hotspur, is why the King
hates Mortimer and calls him a traitor.
Hotspur angrily complains that the Percys have been
shamed by siding with “this canker, Bolingbroke”
against King Richard, “that sweet lovely rose,” and are
now even more disgraced by putting up with the tyranny
of the man they helped make King. Worcester starts to
tell Hotspur of a secret plan to overthrow Henry, but
Hotspur is so carried away with anger that he hardly
allows Worcester a chance to speak. Hotspur declares
that he will do whatever he can to “gall and pinch this
Bolingbroke” and his son, Prince Hal. Northumberland
criticizes Hotspur for being too fond of the sound of his
own voice, but Hotspur’s anger continues; he is so
worked up that he can’t even remember the name of
Berkeley Castle, where he first bowed his knee to King
Henry. At last, Hotspur allows Worcester to speak.
Worcester is far calmer in his determination to overthrow Henry, and has
thought out how it is to be done.
He tells Hotspur to release
the Scottish prisoners
without asking for ransom, Sword and buckler, late fifteenth century.
keeping back only the son
of the Earl of Douglas. This will win the favor of the Scots,
and keep them in touch. Worcester tells Northumberland
to creep “secretly into the bosom” of the Archbishop of
York, who also has reasons to hate Henry: He blames him
for the death of his brother. Worcester himself will “steal
to” Glendower and Mortimer, to draw them into the plot,
and when the time is ripe, they will all gather together an
army to overthrow the King.
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Hotspur, hot-headed as ever, instantly agrees to the
plan without question. He enthusiastically looks forward
to the battle, which he refers to as “sport,” a word that
suggests a devil-may-care attitude to matters of life and
death. Just as the previous scene closes with Prince
Hal showing himself to be growing in maturity and
responsibility, so this scene closes with an emphatic
picture of Hotspur as an impetuous youth. Shakespeare
clearly intends the audience to see the contrast.
Another way in which we are intended to contrast the
two men is in the way that they relate to their fathers.
In Act I, Scene 1, King Henry has expressed his sadness
that his own eldest son is not like Hotspur; in this scene,
we see how Hotspur’s father is unable to control him.
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Notes
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CLIFFSCOMPLETE
ACT II
Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Lady But hear you, my lord.
Hotspur What say’st thou, my lady?
Lady What is it carries you away?
Hotspur Why, my horse, my love, my horse.
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Act II,
Scene 1
Act II, Scene 1
55
The Chamberlain of an inn tells Gadshill of some rich travelers who will
be worth robbing.
ACT II, SCENE 1
Rochester, an inn yard.
NOTES
[Enter a Carrier with a lantern in his hand.]
First Carrier Heigh-ho! an it be not four by the day
I’ll be hanged: Charles’ wain is over the new chimney and yet our horse not packed. What, ostler!
1.
an: if.
by the day: a.m.
Ostler [Within] Anon, anon.
First Carrier I prithee, Tom, beat Cut’s saddle, put a
few flocks in the point; poor jade, is wrung in the
withers out of all cess.
First Carrier Like a tench! by the mass, there is
ne’er a king christen could be better bit than I have
been since the first cock. What, Ostler! come away
and be hanged! come away.
3.
horse: horses.
4.
anon: immediately, i.e., “I’m coming, I’m coming!”
5.
Cut’s: common name for a work horse.
6.
flocks: pieces of wool for padding.
point: sharp point of the saddle that needed padding
to prevent abrasion.
10
jade: sorry, “ill-conditioned” horse.
7.
wrung in the withers: rubbed sore on the shoulderblade.
out of all cess: excessively.
15
20
Second Carrier I have a gammon of bacon and two
razes of ginger, to be delivered as far as charingcross.
First Carrier God’s body! the turkeys in my pannier
are quite starved. What, ostler! A plague on thee!
hast thou never an eye in thy head? canst not hear?
Charles’ wain: the constellation called the Great
Bear. Wain means wagon.
ostler: stable-lad.
First Carrier Poor fellow, never joyed since the price
of oats rose; it was the death of him.
Second Carrier I think this be the most villainous
house in all London road for fleas: I am stung like a
tench.
2.
5
[Enter another Carrier.]
Second Carrier Peas and beans are as dank here as
a dog, and that is the next way to give poor jades the
bots: this house is turned upside down since Robin
Ostler died.
carrier: one who transports goods on pack-horses.
25
8.
dank: humid (damp).
9.
next: quickest.
10.
bots: disease of horses caused by parasitic worms
or maggots.
12.
joyed: enjoyed (his work).
16.
tench: a fresh-water fish spotted as if covered with
fleas.
18.
king christen: Christian king.
19.
first cock: midnight.
20.
and be hanged: i.e., “damn you.”
22.
razes: roots.
22–23.
charing-cross: a London landmark.
24.
pannier: wicker side baskets slung over the horse
so as to hang down on either side in a balanced
position.
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Act II, Scene 1
An’t were not as good deed as drink, to break the
pate on thee I am a very villain. Come, and be
hanged! hast no faith in thee?
27.
An’t: if it.
28.
pate: skull.
31.
two o’clock: (The First Carrier previously
announced it was four o’clock.)
42.
Mugs: common name for a country bumpkin.
44.
great charge: a lot to look after.
46.
At hand: “Here I am!”
51.
Chamberlain: servant in charge of rooms at an
inn.
53.
franklin: yeoman landowner, a rank below the
gentry.
[Enter GADSHILL.]
Gadshill Good morrow, carriers. What’s o’clock?
30
First Carrier I think it be two o’clock.
Gadshill I prithee, lend me thy lantern, to see my
gelding in the stable.
First Carrier Nay, by God, soft; I know a trick
worth two of that, i’ faith.
35
Gadshill I pray thee, lend me thine.
Second Carrier Ay, when? canst tell? Lend me thy
lantern quoth he? marry, I’ll see thee hanged first.
Gadshill Sirrah carrier, what time do you mean to
come to London?
40
Second Carrier Time enough to go to bed with a
candle, I warrant thee. Come, neighbour Mugs, we’ll
call up the gentlemen: they will along with company, for they have great charge. [Exeunt Carriers.]
Gadshill What, ho! chamberlain.
45
Chamberlain [Within] At hand, quoth pick-purse.
Gadshill That’s even as fair as — at hand, quoth the
chamberlain; for thou variest no more from picking
of purses than giving direction doth from labouring;
thou layest the plot how.
50
[Enter CHAMBERLAIN.]
Chamberlain Good morrow, Master Gadshill. It
holds current that I told you yesternight: there’s a
franklin in the wild of Kent hath brought three hundred marks with him in gold: I heard him tell it to
one of his company last night at supper; a kind of
auditor; one that hath abundance of charge too, God
knows what. They are up already, and call for eggs
and butter: they will away presently.
wild: the Weald, an upland area of Kent.
55
54.
marks: a mark was worth two-thirds of a pound.
56.
auditor: official of the royal Treasury.
charge: responsibility.
58.
presently: at once.
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Gadshill Sirrah, if they meet not with Saint Nicholas’ clerks, I’ll give thee this neck.
Act II, Scene 1
59–60.
57
St. Nicholas: patron saint of robbers.
clerks: euphemism for highwaymen.
60
Chamberlain No, I’ll none of it: I pray thee, keep
that for the hangman; for I know thou worshippest
Saint Nicholas as truly as a man of falsehood may.
Gadshill What talkest thou to me of the hangman?
if I hang, I’ll make a fat pair of gallows; for if I
hang, old Sir John hangs with me, and thou knowest
he is no starveling. Tut! there are other Trojans that
thou dreamest not of, the which for sport sake are
content to do the profession some grace; that would,
if matters should be looked into, for their own credit
sake, make all whole. I am joined with no foot-land
rakers, no long-staff sixpenny strikers, none of these
mad mustachio purple-hued malt-worms; but with
nobility and tranquility, burgomasters and greatoneyers, such as can hold in, such as will strike
sooner than speak, and speak sooner than drink, and
drink sooner than pray; and yet ’zounds, I lie, for
they pray continually to their saint, the commonwealth; or rather, not pray to her, but prey on her,
for they ride up and down on her and make her their
boots.
75
67.
Trojans: epic name used satirically for heroes.
71–72.
foot-land rakers: wandering footpads (thieves).
72.
long-staff sixpenny strikers: thieves bearing long
staffs, who are willing to knock down a victim for
the sake of a small reward (sixpence).
73.
purple-hued malt-worm: purplefaced beer-drinkers.
75.
oneyers: Nobody is certain what this word means;
“honeyers” has been suggested to mean smooth
talkers. Others take it for a legal term meaning “a
sheriff accountable to the king for monies due.”
81.
boots: booty (reward). A pun.
83.
foul way: when the roads were bad (as, in the sixteenth century, they usually were, especially after
rain).
84–85.
justice hath liquored her: the poor manner in which
justice is enforced makes crime (especially highway
robbery) common in the state (commonwealth); to
“liquor” boots was to make them waterproof.
86.
fern-seed: a plant popularly believed to make persons invisible.
91.
purchase: plunder.
94.
homo: the generic name for man (homo sapiens).
96.
muddy: muddle-headed.
80
85
Chamberlain Nay, by my faith, I think you are
more beholding to the night than to fern-seed for
your walking invisible.
Gadshill Give me thy hand: thou shalt have a share
in our purchase, as I am a true man.
What: why.
70
Chamberlain What, the commonwealth their boots?
will she hold out water in foul way?
Gadshill She will, she will; justice hath liquored
her. We steal as in a castle, cock-sure; we have the
receipt of fern-seed, we walk invisible.
64.
65
90
Chamberlain Nay, rather let me have it, as you are
a false thief.
Gadshill Go to; ‘homo’ is a common name to all
men. Bid the ostler bring my gelding out of the
stable. Farewell, you muddy knave. [Exeunt.]
95
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Act II, Scene 1
COMMENTARY
ct II includes a dramatic change of tone and mood
A
that holds the audience’s interest and returns to the
comic subplot of the trick that the Prince and Poins have
prepared for Falstaff and his companions.
Shakespeare suddenly takes the play far from the
cares of state and grand affairs of politics and treason.
Two carriers, the Tudor equivalent of long-distance truck
drivers, arrive at an inn-yard in the middle of the night.
(One carries a lantern, the conventional way of representing darkness in an age when the stage was lit by
daylight.) Their language is in marked contrast to that of
the previous scene. Act I, Scene 3, was full of ideas, its
speeches marked by abstract nouns: “greatness,” “honour,” “shame,” and the like. The world of the carriers and
ostlers is littered with peas, beans, dogs, horses, and
fleas. It is a world full of things and low creatures, not
notions. The diction that Shakespeare uses conveys a
sense of the harsh realities of everyday life.
Gadshill arrives and asks the carriers to lend him
their lantern so he can see his way to stable his horse.
They refuse because they don’t trust him — and their
instinct is correct. Gadshill has come to speak to the
inn’s Chamberlain, who has told him that there are some
guests worth robbing. The Chamberlain confirms that
this is the case, and Gadshill asserts that he will rob
them, and boasts that he will escape the hangman.
A franklin.
The Huntington Library, Art Collections, and Botanical Gardens, San Marino,
California/SuperStock
This situation is an example of “dramatic irony:” The
audience knows something that Gadshill doesn’t. He is
about to be tricked, and he will, in turn, be robbed himself. He confidently sets off to meet his friends and commit the crime, but we know that there is a surprise in
store for them.
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Act II,
Scene 2
Act II, Scene 2
59
Falstaff, Gadshill, Bardolph, and Peto rob the travelers; the Prince and
Poins, disguised, rob the robbers.
ACT II, SCENE 2
The highway, near Gadshill.
NOTES
[Enter PRINCE HENRY and POINS.]
Poins Come, shelter, shelter: I have removed Falstaff ’s horse, and he frets like a gummed velvet.
2.
frets: a play on two meanings of this word: (1) is
vexed, (2) frays or wears and fears easily.
4.
and be hanged: damn you.
Prince Stand close.
[Enter FALSTAFF.]
Falstaff Poins! Poins, and be hanged! Poins!
Prince Peace, ye fat-kidneyed rascal! what a brawling dost thou keep!
5
Falstaff Where’s Poins, Hal?
Prince He is walked up to the top of the hill: I’ll
go seek him.
Falstaff I am accursed to rob in that thief ’s company: the rascal hath removed my horse, and tied
him I know not where. If I travel four foot by the
squier further afoot I shall break my wind. Well, I
doubt not but to die a fair death for all this, if I I
’scape hanging for killing that rogue. I have forsworn
his company hourly any time this two and twenty
years, and yet I am bewitched with the rogue’s company. If the rascal have not given me medicines to
make me love him, I’ll be hanged; it could not be
else; I have drunk medicines. Poins! Hal! a plague
upon you both! Bardolph! Peto! I’ll starve ere I’ll
rob a foot further. An ‘twere not as good a deed as
drink, to turn true man and to leave these rogues, I
am the veriest varlet that ever chewed with a tooth.
Eight yards of uneven ground is threescore and ten
miles afoot with me; and the stony-hearted villains
know it well enough: a plague upon it when thieves
cannot be true to one another! [They whistle.]
10
13.
squier: carpenter’s set square.
14.
doubt not but to: expect I will.
18.
medicines: love potions.
22.
An: if.
24.
varlet: servant.
15
20
25
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Act II, Scene 2
Whew! A plague upon you all! Give me my horse,
you rogues; give me my horse, and be hanged.
30
Prince Peace! lie down; lay thine ear close to the
ground and list if thou canst hear the tread of travellers.
Falstaff Have you any levers to lift me up again,
being down? ’Sblood, I’ll not bear mine own flesh so
far afoot again for all the coin in thy father’s exchequer. What a plague mean ye to colt me thus.
35
Prince Thou liest; thou art not colted, thou art uncolted.
Falstaff I prithee, good Prince Hal, help me to my
horse, good king’s son.
colt: make a fool of or deceive.
38.
uncolted: unhorsed (or dehorsed).
42.
shall I . . .: Prince Hal rebuffs Falstaff’s request.
He is not Sir John’s servant!
43.
heir-apparent: next in line to the throne.
44.
garters: pun on Order of the Garter, which is an
order of chivalry.
40
Prince Out, ye rogue! shall I be your ostler?
Falstaff Go, hang thyself in thine own heir-apparent
garters. If I be ta’en, I’ll peach for this. An I have
not ballads made on you all and sung to filthy tunes,
let a cup of sack be my poison: when a jest is so forward, and afoot too! I hate it.
37.
45
peach: inform on.
45.
ballads: satirical verses set to music for singing
in the streets.
50.
setter: criminal who sets up the crime.
52.
Case ye: mask yourselves.
[Enter GADSHILL, BARDOLPH and PETO with him]
Gadshill Stand.
Falstaff So I do, against my will.
Poins O, ’tis our setter, I know his voice. Bardolph,
what news?
50
Bardolph Case ye, case ye; on with your vizards:
there’s money of the king’s coming down the hill;
’tis going to the king’s exchequer.
Falstaff You lie, you rogue; tis going to the king’s
tavern.
vizards: masks.
54.
king’s exchequer: the royal treasury.
59.
front: confront or face.
61.
light: alight upon.
55
Gadshill There is enough to make us all.
Falstaff To be hanged.
Prince Sirs, you four shall front them in the narrow
lane; Ned Poins and I will walk lower: if they ’scape
from your encounter, then they light on us.
Peto How many be there of them?
60
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Act II, Scene 2
61
Gadshill Some eight or ten.
Falstaff Zounds, will they not rob us?
Prince What, a coward, Sir John Paunch?
65
Falstaff Indeed, I am not John of Gaunt, your
grandfather, but yet no coward, Hal.
66.
Gaunt: the English form of Ghent (where Hal’s
grandfather, John o’Gaunt, came from). Note the
pun on gaunt (meaning lean) and Paunch (meaning
fat belly) on line 65.
76.
happy man be his dole: may every man be dealt out
a portion of the reward from this robbery.
85.
youth: the collective plural comically includes old
Falstaff.
91.
grandjurors: owning enough property to be eligible
to sit on a grand jury; men of substance.
Prince Well, we leave that to the proof.
Poins Sirrah Jack, thy horse stands behind the
hedge: when thou needest him, there thou shalt find
him. Farewell, and stand fast.
70
Falstaff Now cannot I strike him, if I should be
hanged.
Prince Ned, where are our disguises.
Poins Here, hard by: stand close.
75
[Exeunt PRINCE and POINS.]
Falstaff Now, my masters, happy man be his dole,
say I: every man to his business.
[Enter the Travellers.]
First Traveller Come, neighbor: the boy shall lead
our horses down the hill; we’ll walk afoot awhile,
and ease our legs.
80
Thieves Stand!
Travellers Jesus bless us!
Falstaff Strike; down with them; cut the villains’
throats: ah! caterpillars! bacon-fed knaves! they
hate us youth: down with them: fleece them.
85
Travellers O, we are undone, both we and ours forever!
Falstaff Hang ye, knaves, are ye undone? No, ye
fat chuffs; I would your store were here! On, bacons,
on! What, ye knaves! young men must live. You are
grandjurors, are ye? we’ll jure ye, ’faith.
[Here they rob them and bind them. Exeunt.]
[Re-enter PRINCE HENRY and POINS.]
90
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Act II, Scene 2
Prince The thieves have bound the true men. Now
could thou and I rob the thieves and go merrily to
London, it would be argument for a week, laughter
for a month and a good jest for ever.
95
Poins Stand close; I hear them coming.
[Enter the Thieves again.]
Falstaff Come, my masters, let us share, and then to
horse before day. An the Prince and Poins be not
two arrant cowards, there’s no equity stirring: there’s
no more valour in that Poins than in a wild-duck.
99.
equity: fair play.
106.
officer: officer of the watch, the equivalent of
police.
108.
lards the lean earth: perspires into and thus
greases the soil.
100
Prince Your money!
Poins Villains!
[As they are sharing, the PRINCE and POINS set upon them;
they all run away; and FALSTAFF, after a blow or two, runs
away too, leaving the booty behind them.]
Prince Got with much ease. Now merrily to horse.
The thieves are all scatter’d and possess’d with fear
So strongly that they dare not meet each other;
Each takes his fellow for an officer.
Away, good Ned. Falstaff sweats to death,
And lards the lean earth as he walks along.
Were’t not for laughing, I should pity him.
Poins How the rogue roar’d! [Exeunt.]
105
110
COMMENTARY
he robbery plot quickly unfolds. Poins has stolen FalT
staff’s horse, forcing him to travel on foot. Falstaff is
so fat and unfit that he can hardly walk any distance at
all, and his loud protests comically underline the absurd
figure that he cuts as he struggles along in the company
of the Prince. He moans about Poins’s treachery: “a
plague on it when thieves cannot be true to one
another.” This scene is another example of dramatic
irony, for Falstaff makes the remark to Hal, who we
know is also about to deceive Falstaff. Falstaff’s remark
about Poins is also a reference to the idea of loyalty, one
of the key themes of the play.
Bardolph, Peto, and Gadshill arrive. (Gadshill is also
the name of the place at which the robbery happens.
The confusing choice of names may be a mistake or a
miscopying of Shakespeare’s original words.) Their victims are coming down the hill. The Prince tells the three
men to go ahead with Falstaff while he and Poins hang
back. (The audience knows the reason for Hal and Poins
separating from the others — another example of dramatic irony.) When it is revealed that the robbers are
outnumbered by their victims, Falstaff immediately
expresses fear: “Zounds, will they not rob us?”, but
when it comes time to execute the robbery, he at least
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bombards them with terrifying and blood-curdling
language. Falstaff is clearly a man of
talk rather than action, unless that
action is eating, drinking, or making
merry.
Act II, Scene 2
63
knows that, when they meet up with Poins and the
Prince, they will have to explain what has happened. Their excuses will be the
best part of the joke.
This scene is a highly successful
comic one, but amidst all the laughter,
Bardolph, Peto, and Gadshill tie
it also operates at a much more
up their victims and while they
serious level. On the one
are sharing out the booty, Falhand, the scene celebrates
staff complains of the cowthe friendship between the
ardice of Poins and the Prince
tavern companions, including
in not taking part in the robbery. In
the Prince. Practical jokes rarely work
another example of dramatic irony, Falwell unless they are practiced by
staff says that “there’s no more valfriends upon friends. This joke is a
our in that Poins than in a wild
big one, suggesting big friendship.
duck” the very moment before
On the other hand, this is a joke
Poins and the Prince, disguised, set
that depends upon betrayal; and betrayal and loyalty
upon their friends and steal from them what they
are important themes in this
have stolen. As the robbed The Badge of the order of the Garter, the highest English Order of Chivalry. The
play. The scene is funny and
robbers run off, the Prince main part of its insignia is a richly decorated garter, worn on the thigh.
good-natured; but it is also
describes their panic, and
a variation on a theme that is played out much more
we are left with the mental picture of Falstaff sweating
tragically in the main plot of the play, the story of the
so much as he flees that he “lards the lean earth.”
rebellion against the King.
Falstaff, Gadshill, Bardolph, and Peto do not, of
course, know who has set upon them, and the audience
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Act II, Scene 3
Act II,
Scene 3
Hotspur reads a letter advising the rebels to delay. His wife, Kate, asks
him what is on his mind, because he has been talking of war in his sleep.
He refuses to tell her.
ACT II, SCENE 3
Warkworth Castle.
NOTES
[Enter HOTSPUR, solus, reading a letter.]
Hotspur “But, for mine own part, my lord, I could
be well contented to be there, in respect of the love I
bear your house.” He could be contented: why is he
not, then? In respect of the love he bears our house:
he shows in this, he loves his own barn better than
he loves our house. Let me see some more. “The purpose you undertake is dangerous;” — why, that’s certain: ’tis dangerous to take a cold, to sleep, to drink;
but I tell you, my lord fool, out of this nettle, danger,
we pluck this flower, safety. “The purpose you undertake is dangerous; the friends you have named
uncertain; the time itself unsorted; and your whole
plot too light for the counterpoise of so great an opposition.” Say you so, say you so? I say unto you
again, you are a shallow cowardly hind, and you lie.
What a lack-brain is this! By the Lord, our plot is a
good plot as ever was laid; our friends true and constant: a good plot, good friends, and full of expectation; an excellent plot, very good friends. What a
frosty-spirited rogue is this! Why, my lord of York
commends the plot and the general course of the action. ’Zounds, an I were now by this rascal, I could
brain him with his lady’s fan. Is there not my father,
my uncle and myself? lord Edmund Mortimer, my
lord of York and Owen Glendower? is there not besides the Douglas? have I not all their letters to
meet me in arms by the ninth of the next month? and
are they not some of them set forward already? What
a pagan rascal is this! an infidel! Ha! you shall see
5
8.
take: catch.
10
15
12.
unsorted: ill-chosen.
13.
counterpoise: weight used to balance against
another weight of equivalent heaviness.
15.
hind: servant.
29.
pagan . . . infidel: a topical reference during the
period of the Crusades. This reference makes him
sound like a Saracen (one who did not share his
faith).
20
25
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now in very sincerity of fear and cold heart, will he
to the king and Jay open all our proceedings. O, I
could divide myself and go to buffets, for moving
such a dish of skim milk with so honourable an action! Hang him! let him tell the king: we are prepared. I will set forward to-night.
Act II, Scene 3
30
65
30.
will he: he will go.
32.
buffets: fight myself.
43.
my rights of thee: her conjugal rights of Hotspur.
47.
manage: direction and management of a battle.
49.
sallies: advances.
35
[Enter LADY PERCY.]
How now, Kate! I must leave you within these two
hours.
Lady O, my good lord, why are you thus alone?
Tell me, sweet lord, what is’t that takes from thee
Thy stomach, pleasure and thy golden sleep?
Why dost thou bend thine eyes upon the earth,
And start so often when thou sitt’st alone?
Why hast thou lost the fresh blood in thy cheeks;
And given my treasures and my rights of thee
To thick-eyed musing and cursed melancholy?
In thy faint slumbers I by thee have watch’d,
And heard thee murmur tales of iron wars;
Speak terms of manage to thy bounding steed;
Cry ‘Courage! to the field!’ And thou hast talk’d
Of sallies and retires, of trenches, tents,
Of palisadoes, frontiers, parapets,
Of basilisks, of cannon, culverin,
Of prisoners’ ransom and of soldiers slain,
And all the currents of a heady fight.
Thy spirit within thee hath been so at war
And thus hath so bestirr’d thee in thy sleep,
That beads of sweat have stood upon thy brow
Like bubbles in a late-disturbed stream;
And in thy face strange motions have appear’d,
Such as we see when men restrain their breath
On some great sudden best. O, what portents are
these?
Some heavy business hath my lord in hand,
And I must know it, else he loves me not.
Hotspur What, ho!
[Enter Servant.]
Is Gilliams with the packet gone?
Servant He is, my lord, an hour ago.
40
45
50
retires: retreats.
50.
palisadoes: rows of stakes placed for defensive
reasons.
frontiers: barriers.
parapets: walls.
55
51.
basilisks: heavy gun.
culverin: long thin rifle.
60
60.
hest: behest.
portents: signs or omens.
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Act II, Scene 3
Hotspur Hath Butler brought those horses from the
sheriff?
65
Servant One horse, my lord, he brought even now.
Hotspur What horse? a roan, a crop-ear, is it not?
67.
roan: reddish horse flecked with white.
69.
back him: get on his back, mount.
Servant It is, my lord.
Hotspur
That roan shall be my throne.
Well, I will back him straight: O Esperance!
Bid Butler lead him forth into the park. [Exit Servant.]
Esperance: “hope” (French). The family motto of
the Percys was “Esperance ma conforte” (meaning “Hope (is) my comfort”).
70
Lady But hear you, my lord.
Hotspur What say’st thou, my lady?
Lady What is it carries you away?
Hotspur Why, my horse, my love, my horse.
Lady Out, you mad-headed ape!
A weasel hath not such a deal of spleen
As you are toss’d with. In faith,
I’ll know your business, Harry, that I will.
I fear my brother Mortimer doth stir
About his title, and hath sent for you
To line his enterprise: but if you go, —
75
80
Hotspur So far afoot, I shall be weary, love.
Lady Come, come, you paraquito, answer me
Directly unto this question that I ask:
In faith, I’ll break thy little finger, Harry,
An if thou wilt not tell me all things true.
Hotspur Away,
Away, you trifler! Love! I love thee not,
I care not for thee, Kate: this is no world
To play with mammets and to tilt with lips:
We must have bloody noses and crack’d crowns,
And pass them current too. God’s me, my horse!
What say’st thou, Kate? what wouldst thou have
with me?
Lady Do you not love me? do you not, indeed?
Well, do not then; for since you love me not,
I will not love myself. Do you not love me?
Nay, tell me if you speak in jest or no.
76.
spleen: fiery impetuosity.
80.
title: claim to the throne based on Richard II’s
expressed wish.
81.
line: assist and support.
83.
paraquito: parrot.
90.
mammets: dolls or puppets.
85
90
tilt: kiss passionately (the image of taking opposite sides in a tournament and encountering one
another violently).
95
91.
crowns: heads/coins.
92.
pass them current: accept them as good currency.
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Hotspur Come, wilt thou see me ride?
And when I am o’ horseback, I will swear
I love thee infinitely. But hark you, Kate,
I must not have you henceforth question me
Whither I go, nor reason whereabout:
Whither I must, I must; and, to conclude,
This evening must I leave you, gentle Kate.
I know you wise, but yet no farther wise
Than Harry Percy’s wife: constant you are,
But yet a woman: and for secrecy,
No lady closer; for I well believe
Thou wilt not utter what thou dost not know;
And so far will I trust thee, gentle Kate.
Act II, Scene 3
67
100
105
108.
No lady closer: none more able to keep a secret.
110
Lady How! so far?
Hotspur Not an inch further. But hark you, Kate:
Whither I go, thither shall you go too;
To-day will I set forth, to-morrow you.
Will this content you, Kate?
Lady
115
It must of force. [Exeunt.]
COMMENTARY
n Act II, Scene 3, the play returns to its main plot: the
Iforces
developing rebellion against King Henry. Shakespeare
the audience to wait a while to see the outcome
of the jest that has been played upon Falstaff. Running
the two stories in tandem like this is a clever way of
keeping up the pace and interest of the play. Only later
will the two strands of the tale intertwine. Now the
action goes to the Percy castle at Warkworth. Warkworth was (and still is) a huge and dominant complex of
buildings reflecting the power and influence the Percys
then enjoyed in the north of England.
The atmosphere is instantly conspiratorial. Hotspur
is alone, reading a letter by an unnamed author, which
adds to the sense of secrecy and subterfuge. Hotspur
reads parts of it aloud. It is sympathetic to the rebel
cause, but its author refuses to join them at that time for
several good reasons, not least of which is that they are
not yet strong enough to stand a chance of winning.
Hotspur dismisses each argument in turn, showing himself to be more interested in action than caution. He
reacts to the advice with contempt and angrily accuses
the author of cowardice. Hotspur’s language reflects his
fiery loss of temper. He condemns the letter-writer as a
“fool,” a “shallow, cowardly hind,” a “lack-brain,” a
“frosty-spirited rogue,” a “rascal,” a “pagan rascal,”
and an “infidel.” He assumes that the writer of the letter will betray the rebels to the King. But this doesn’t
matter: Hotspur is setting off to join the other rebels that
very evening.
The audience quickly sees Hotspur’s reaction to the
letter as an indication of the way in which his temper
gets the better of his judgment. He will not listen to
advice. To emphasize this point, we now see how he
refuses to allow his own wife into his confidence,
although we must remember that this would be less of
a shock to Shakespeare’s contemporaries than it is to
us. (See the “Introduction to Early Modern England”
section of this book.) Kate, Lady Percy, is distressed to
be given only two hours’ notice that her husband is to
leave. She knows that something is happening, because
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Act II, Scene 3
Warkworth Castle today.
SuperStock
Hotspur has been behaving strangely recently, becoming melancholy and introspective. Moreover, he has
been talking in his sleep about weapons, battles, and
death. What is on his mind? Hotspur doesn’t even
answer her, but calls for a servant and orders him to
saddle his new horse so that he can try it out.
Hotspur’s wife is furious that he won’t reveal his
plans to her, because she loves him and is frightened
for him. She has guessed what is going on, though he
doesn’t admit it. Kate also knows his weakness: “A
weasel has not such a deal of spleen / As you are
tossed with.” They quarrel, but it is clear that they love
each other. Even so, he refuses to tell her of his plans.
For all her constancy, she is a woman, and women, he
suggests, cannot be trusted with secrets. Hotspur will,
however, allow Kate to follow him, though he won’t yet
tell her where.
In this intimate little scene, Shakespeare shows Hotspur close up, leaving the audience with an even
stronger impression of Hotspur’s impetuosity, for this
quality even comes between Hotspur and his wife. But
Kate loves him in spite of it, and that fact makes us feel
that he must have a sympathetic side, too. We wonder
what the outcome of the battle will be. On the one hand,
we know that Hotspur is outwardly confident; but we
also now know that he is subconsciously worried. The
measured prose of the letter suggests that the writer
has weighed the odds before deciding that the chances
are against the rebels succeeding, and the audience is
left to wonder whether Hotspur has been right to dismiss its advice so readily. Once again, Shakespeare
ends the scene leaving the audience anxious to discover what will happen next.
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Act II,
Scene 4
Act II, Scene 4
69
The Prince has some fun at the tavern, first by teasing a foolish young
servant, and then by listening to Falstaff’s dishonest account of the
robbery. When the trick is revealed, Falstaff laughs it off. Falstaff and the
Prince act out the upcoming confrontation between the Prince and his
father. Falstaff falls asleep when hiding from the Sheriff, and the Prince
picks his pockets.
ACT II, SCENE 4
The Boar’s-head Tavern, Eastcheap.
NOTES
[Enter the PRINCE and POINS.]
Prince Ned, prithee, come out of that fat room, and
lend me thy hand to laugh a little.
1.
fat: probably “vat.”
4.
loggerheads: numbskulls.
5.
hogsheads: largest-sized barrels made by the coopers.
7.
leash: collective noun taken from a pack of hounds
on the leash.
Poins Where hast been, Hal?
Prince With three or four loggerheads amongst
three or four score hogsheads. I have sounded the
very base-string of humility. Sirrah, I am sworn
brother to a leash of drawers; and can call them all
by their christen names, as Tom, Dick, and Francis.
They take it already upon their salvation, that though
I be but Prince of Wales, yet I am the king of courtesy; and tell me flatly I am no proud Jack, like Falstaff, but a Corinthian, a lad of mettle, a good boy,
by the Lord, so they call me, and when I am king of
England I shall command all the good lads in Eastcheap. They call drinking deep, dyeing scarlet; and
when you breathe in your watering, they cry ‘hem!’
and bid you play it off. To conclude, I am so good a
proficient in one quarter of an hour, that I can drink
with any tinker in his own language during my life.
I tell thee, Ned, thou hast lost much honour, that thou
wert not with me in this action. But, sweet Ned, — to
sweeten which name of Ned, I give thee this pennyworth of sugar, clapped even now into my hand by
an under-skinker, one that never spoke other English
in his life than ‘Eight shillings and sixpence’, and
‘You are welcome’, with this shrill addition, ‘Anon,
anon, sir! Score a pint of bastard in the Half-moon’,
or so. But, Ned, to drive away the time till Falstaff
come, I prithee do thou stand in some by-room, while
5
drawers: ale-servers, tapsters.
10
12.
Corinthian: a pleasure-loving fellow (from the city
of Corinth, which was notorious for its “pleasure”).
mettle: courage.
15
16.
breathe in your watering: probably means to take
breath when you drink; the idea is to finish the glass
(of beer) without taking a breath.
18.
proficient: this adjective is here used as a noun; it
is not so employed today.
24.
under-skinker: under-drawer.
26.
anon: at once.
27.
bastard: wine of common or undetermined origin.
20
25
Half-moon: name of a room in the tavern.
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I question my puny drawer to what end he gave me
the sugar; and do thou never leave calling ‘Francis’,
that his tale to me may be nothing but ‘Anon’. Step
aside, and I’ll show thee a precedent.
30
33.
precedent: example.
37.
Pomgarnet: Pomegranate, another named room.
41.
to serve: Francis’ apprenticeship in serving.
45.
by’r lady: by Our Lady (the Virgin Mary).
47.
indenture: deed of apprenticeship.
49.
books: i.e., bibles and prayerbooks.
54.
Michaelmas: September 29.
Poins Francis!
Prince Thou art perfect.
35
Poins Francis! [Exit POINS.]
[Enter FRANCIS.]
Francis Anon, anon, sir. Look down into the Pomgarnet, Ralph.
Prince Come hither, Francis.
Francis My lord?
40
Prince How long hast thou to serve, Francis?
Francis Forsooth, five years, and as much as to —
Poins [Within] Francis!
Francis Anon, anon, sir.
Prince Five year! by’r lady, a long lease for the
clinking of pewter. But, Francis, darest thou be so
valiant as to play the coward with thy indenture and
show it a fair pair of heels and run from it?
Francis O Lord, sir, I’ll be sworn upon all the books
in England, I could find in my heart.
45
50
Francis Anon, sir.
Prince How old art thou, Francis?
Francis Let me see — about Michaelmas next I shall
be —
55
Francis Anon, sir. Pray stay a little, my lord.
Prince Nay, but hark you, Francis: for the sugar
thou gavest me, ’twas a pennyworth, was’t not?
Francis O Lord, I would it had been two!
Prince I will give thee for it a thousand pound: ask
me when thou wilt, and thou shalt have it.
60
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Act II, Scene 4
71
Francis Anon, anon.
Prince Anon, Francis? No, Francis; but to-morrow, Francis; or Francis, o’ Thursday; or indeed,
Francis, when thou wilt. But Francis!
65
Francis My lord?
Prince Wilt thou rob this leathern jerkin, crystalbutton, not-pated, agate-ring, puke-stocking, caddisgarter smooth-tongue, Spanish-pouch, —
70
70.
puke: dark wool (poor quality).
Francis O Lord, sir, who do you mean?
Prince Why then, your brown bastard is your only
drink; for look you, Francis, your white canvas doublet will sully: in Barbary, sir, it cannot come to so
much.
not-pated: short-haired (a lower class style).
caddis: coarse tape.
75
71.
Spanish-pouch: i.e., pouch of Spanish leather.
75.
Barbary: north Africa.
81.
Vintner: literally, one who manufactures wine, but
in this case the supervisor of the serving men; a
manager.
Francis What, sir?
Prince Away, you rogue! dost thou not hear them
call?
80
[Here they both call him; the drawer stands amazed, not knowing which way to go.]
[Enter VINTNER.]
Vintner What, standest thou still, and hearest such
a calling? Look to the guests within. [Exit FRANCIS.]
My lord, old Sir John, with half-a-dozen more, are at
the door: shall I let them in?
Prince Let them alone awhile, and then open the
door.
85
[Exit VINTNER.] Poins!
[Re-enter POINS.]
Poins Anon, anon, sir.
Prince Sirrah, Falstaff and the rest of the thieves
are at the door; shall we be merry?
Poins As merry as crickets, my lad. But hark ye;
what cunning match have you made with this jest of
the drawer? come, what’s the issue?
90
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Prince I am now of all humours that have showed
themselves humours since the old days of goodman
Adam to the pupil age of this present twelve o’clock
at midnight. [Re-enter FRANCIS.] What’s o’clock,
Francis?
94.
humours: here means moods.
103.
parcel of reckoning: bill item.
112.
Rivo: exclamation used at drinking-bouts (perhaps
of Spanish origin).
113.
tallow: fat.
117–8.
nether stocks: foot stockings.
95
Francis Anon, anon, sir. [Exit.]
Prince That ever this fellow should have fewer
words than a parrot, and yet the son of a woman!
His industry is up-stairs and down-stairs; his eloquence the parcel of a reckoning. I am not yet of
Percy’s mind, the Hotspur of the north; he that kills
me some six or seven dozen of Scots at a breakfast,
washes his hands, and says to his wife ‘Fie upon this
quiet life! I want work.’ ‘O my sweet Harry,’ says
she, ‘how many hast thou killed today?’ ‘Give my
roan horse a drench,’ says he; and answers ‘Some
fourteen,’ an hour after; ‘a trifle, a trifle.’ I prithtee,
call in Falstaff. I’ll play Percy, and that huge brawn
shall play Dame Mortimer, his wife. ‘Rivo!’ says the
drunkard. Call in ribs, call in tallow.
100
105
110
[Enter FALSTAFF, GADSHILL, BARDOLPH, and PETO;
FRANCIS following with wine.]
Poins Welcome, Jack: where hast thou been?
Falstaff A plague of all cowards, I say, and a vengeance too! marry, and amen! Give me a cup of
sack, boy. Ere I lead this life long, I’ll sew nether
stocks and mend them and foot them too. A plague
of all cowards! Give me a cup of sack, rogue. Is
there no virtue extant? [He drinks.]
115
foot: provide feet for.
120
Prince Didst thou ever see Titan kiss a dish of butter? pitiful-hearted Titan, that melted at the sweet
tale of the sun’s! if thou didst, then behold that
compound.
Falstaff You rogue, here’s lime in this sack too:
there is nothing but roguery to be found in villainous
man: yet a coward is worse than a cup of sack with
lime in it. A villainous coward! Go thy ways, old
Jack; die when thou wilt, if manhood, good manhood, be not forgot upon the face of the earth, then
125
130
121.
Titan: the sun (a giant).
125.
lime: lime was introduced by dishonest innkeepers or their servants to restore temporary sparkle
to wine that had gone flat and stale. This practice
was believed to lead to stones in the bladder.
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am I a shotten herring. There live not three good men
unhanged in England; and one of them is fat and
grows old: God help the while! a bad world, I say.
I would I were a weaver; I could sing psalms or any
thing. A plague of all cowards, I say still.
Act II, Scene 4
Falstaff A king’s son! If I do not beat thee out of
thy kingdom with a dagger of lath, and drive all thy
subjects afore thee like a flock of wild-geese, I’ll
never wear hair on my face more. You Prince of
Wales!
131.
shotten herring: female herring after it has released
all of its eggs and therefore appears lean.
136.
wool-sack: large woolen cushion.
138.
lath: strip of wood.
145.
’Zounds: by God’s (Christ’s) wounds.
166.
a half-sword: close fighting.
135
Prince How now, wool-sack! what mutter you?
140
Prince Why, you round man, what’s the matter?
Falstaff Are not you a coward? answer me to that:
and Poins there?
Poins ’Zounds, ye fat paunch, an ye call me coward, by the Lord, I’ll stab thee.
Falstaff I call thee coward! I’ll see thee damned
ere I call thee coward: but I would give a thousand
pound I could run as fast as thou canst. You are
straight enough in the shoulders, you care not who
sees your back: call you that backing of your
friends? A plague upon such backing! give me them
that will face me. Give me a cup of sack: I am a
rogue, if I drunk to-day.
Prince O villain! thy lips are scarce wiped since
thou drunkest last.
145
150
155
Falstaff All’s one for that. [He drinks.] A plague
of all cowards, still say I.
Prince What’s the matter?
Falstaff What’s the matter! there be four of us
here have ta’en a thousand pound this day morning.
160
Prince Where is it, Jack? where is it?
Falstaff Where is it! taken from us it is: a hundred upon poor four of us.
Prince What, a hundred, man?
Falstaff I am a rogue, if I were not a half-sword
73
165
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Act II, Scene 4
with a dozen of them two hours together. I have
’scaped by miracle. I am eight times thrust through
the doublet, four through the hose; my buckler cut
through and through; my sword hacked like a handsaw — ecce signum! I never dealt better since I was
a man: all would not do. A plague of all cowards!
Let them speak: if they speak more or less than
truth; they are villains and the sons of darkness.
Prince Speak, sirs: how was it?
169.
170
doublet: lined jacket.
hose: either long stockings or close fitting kneebreeches.
buckler: shield.
171.
ecce signum: Latin for “behold the evidence.”
181.
Ebrew: Hebrew.
193.
peppered: sprinkled with holes like a pepper
shaker top.
195.
buckram: coarse linen stiffened with gum or
paste.
175
Gadshill We four set upon some dozen —
Falstaff Sixteen at least, my lord.
Gadshill And bound them.
Peto No, no, they were not bound.
Falstaff You rogue, they were bound, every man of
them; or I am a Jew else, an Ebrew Jew.
180
Gadshill As we were sharing, some six or seven
fresh men set upon us —
Falstaff And unbound the rest, and then come in
the other.
185
Prince What, fought you with them all?
Falstaff All! I know not what you call all? but if I
fought not with fifty of them, I am a bunch of radish: if there were not two or three and fifty upon
poor old Jack, then am I no two-legged creature.
190
Prince Pray God you have not murdered some of
them.
Falstaff Nay, that’s past praying for: I have peppered two of them; two I am sure I have paid, two
rogues in buckram suits. I tell thee what, Hal, if I
tell thee a lie, spit in my face, call me horse. Thou
knowest my old ward; here I lay, and thus I bore
my point. Four rogues in buckram let drive at me —
195
Prince What, four? thou saidst but two even now.
Falstaff Four, Hal; I told thee four.
Poins Ay, ay, he said four.
Falstaff These four came all a-front, and mainly
200
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Act II, Scene 4
thrust at me. I made me no more ado but took all
their seven points in my target, thus.
Prince Seven? why, there were but four even now.
75
204.
target: shield.
212.
mark: (1) notice; (2) count.
216.
points: here used in a double sense to mean (1) tips
of swords and (2) braces, or suspenders used to
keep up breeches.
224.
Kendal green: olive green wool cloth manufactured
at Kendal, a town in the old English county of
Westmorland.
228.
palpable: capable of being touched.
230.
keech: the fat of a slaughtered animal.
205
Falstaff In buckram?
Poins Ay, four, in buckram suits.
Falstaff Seven, by these hilts, or I am a villain else.
Prince Prithee, let him alone; we shall have more
anon.
210
Falstaff Dost thou hear me. Hal?
Prince Ay, and mark thee too, Jack.
Falstaff Do so, for it is worth the listening to.
These nine in buckram that I told thee of —
Prince So, two more already.
215
Falstaff Their points being broken, —
Poins Down fell their hose.
Falstaff Began to give me ground: but I followed
me close, came in foot and hand; and with a thought
seven of the eleven I paid.
220
Prince O monstrous! eleven buckram men grown
out of two!
Falstaff But, as the devil would have it, three misbegotten knaves in Kendal green came at my back
and let drive at me; for it was so dark, Hal, that thou
couldst not see thy hand.
Prince These lies are like their father that begets
them; gross as a mountain, open, palpable. Why,
thou not-pated fool, thou obscene, greasy tallowkeech —
225
230
Falstaff What, art thou mad? art thou mad? is not
the truth the truth?
Prince Why, how couldst thou know these men in
Kendal green, when it was so dark thou couldst not
see thy hand? come, tell us your reason: what sayest
thou to this?
Poins Come, your reason, Jack, your reason.
235
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Act II, Scene 4
Falstaff What, upon compulsion? ’Zounds, an I
were at the strappado, or all the racks in the world,
I would not tell you on compulsion. Give you a reason on compulsion! if reasons were as plentiful as
blackberries, I would give no man a reason upon
compulsion, I.
Prince I’ll be no longer guilty of this sin; this sanguine coward, this horseback-breaker, this huge hill
of flesh, —
Falstaff ’Sblood, you starveling, you eel-skin, you
dried neat’s tongue, you stock-fish! O for breath to
utter what is like thee! you tailor’s yard, you sheath,
you bow-case, you vile standing-tuck, —
239.
strappado: torture in which the victim has his
hands tied to a rope behind his back and is lifted
up and dropped so his body weight dislocates his
shoulders.
248.
neat’s tongue: ox-tongue.
240
245
stock-fish: dried cod.
250
Prince Well, breathe awhile, and then to it again:
and when thou hast tired thyself in base comparisons, hear me speak but this.
249.
yard: measuring rod.
250.
standing-tuck: blade that has lost its tempering.
265.
starting-hole: bolt-hole.
274.
Hercules: mythological strongman.
Poins Mark, Jack.
Prince We two saw you four set on four and bound
them, and were masters of their wealth. Mark now,
how a plain tale shall put you down. Then did we
two set on you four; and, with a word, out-faced you
from your prize, and have it; yea, and can show it
you here in the house: and, Falstaff, you carried
yourself away as nimbly, with as quick dexterity,
and roared for mercy and still run and roared, as
ever I heard bull-calf. What a slave art thou, to hack
thy sword as thou hast done, and then say it was in
fight! What trick, what device, what starting-hole,
canst thou now find out to hide thee from this open
and apparent shame?
255
260
265
Poins Come, let’s hear Jack; what trick hast thou
now?
Falstaff By the Lord, I knew ye as well as he that
made ye. Why, hear you, my masters: was it for me
to kill the heir-apparent? should I turn upon the
true prince? why, thou knowest I am as valiant as
Hercules: but beware instinct; the lion will not
touch the true Prince. Instinct is a great matter; I
was now a coward on instinct. I shall think the better
270
275
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of myself and thee during my life; I for a valiant
lion, and thou for a true Prince. But, by the Lord,
lads, I am glad you have the money. Hostess, clap
to the doors: watch to-night, pray to-morrow. Gallants, lads, boys, hearts of gold, all the titles of good
fellowship come to you! What, shall we be merry?
shall we have a play extempore?
Prince Content; and the argument shall be thy running away.
Act II, Scene 4
280
285
Falstaff Ah, no more of that, Hal, an thou lovest
me.
[Enter Hostess.]
Hostess O Jesu, my lord the prince!
Prince How now, my lady the hostess! what sayest
thou to me?
290
Hostess Marry, my lord, there is a nobleman of the
court at door would speak with you: he says he
comes from your father.
Prince Give him as much as will make him a royal
man, and send him back again to my mother.
295
Falstaff What manner of man is he?
Hostess An old man.
Falstaff What doth gravity out of his bed at midnight? Shall I give him his answer?
Prince Prithee, do, Jack.
300
Falstaff ’Faith, and I’ll send him packing. [Exit]
Prince Now, sirs: by’r lady, you fought fair; so did
you, Peto; so did you, Bardolph: you are lions too,
you ran away upon instinct, you will not touch the
true prince; no, fie!
305
Bardolph ’Faith, I ran when I saw others run.
Prince ’Faith, tell me now in earnest, how came
Falstaff ’s sword so hacked?
Peto Why, he hacked it with his dagger, and said
he would swear truth out of England but he would
310
77
280.
watch: (1) keep on guard; (2) stay up late (drinking).
283.
extempore: unrehearsed (on the spur of the
moment).
284.
argument: plot.
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make you believe it was done in fight, and persuaded
us to do the like.
Bardolph Yea, and to tickle our noses with speargrass to make them bleed, and then to beslubber our
garments with it and swear it was the blood of true
men. I did that I did not this seven year before, I
blushed to hear his monstrous devices.
315
Prince O villain, thou stolest a cup of sack eighteen years ago, and wert taken with the manner, and
ever since thou hast blushed extempore. Thou hadst
fire and sword on thy side, and yet thou rannest
away: what instinct hadst thou for it?
320
313.
spear-grass: coarse grass.
322.
instinct: a reference to Falstaff’s previous use of
this word as his excuse for not hurting the true
prince.
324.
exhalations: shooting stars. (Bardolph likens the
boils on his face to them. Meteors were thought
to be bad omens.)
Prince No, if rightly taken, halter.
329.
rightly taken: properly understood.
[Re-enter FALSTAFF.]
Here comes lean Jack, here comes bare-bone. How
now, my sweet creature of bombast! How long is’t
ago, Jack, since thou sawest thine own knee?
328–9.
Choler . . . halter: pun on collar and the hangman’s
noose. The whole play is full of references,
mostly oaths or puns, to the act of hanging.
330.
lean Jack: another ironic reference to Falstaff’s
corpulence.
340.
Amamon: name of a fiend (perhaps a corruption
of the Greek name Agamemnon).
340.
bastinado: thrashing or cudgeling.
342.
Welsh hook: a weapon made from a pruning hook
attached to a long staff.
Bardolph My lord, do you see these meteors? Do
you behold these exhalations?
Prince I do.
325
Bardolph What think you they portend?
Prince Hot livers and cold purses.
Bardolph Choler, my lord, if rightly taken.
Falstaff My own knee? when I was about thy years,
Hal, I was not an eagle’s talon in the waist; I could
have crept into any alderman’s thumb-ring: a plague
of sighing and grief! it blows a man up like a bladder. There’s villainous news abroad: here was Sir
John Bracy from your father; you must to the court
in the morning. That same mad fellow of the north,
Percy, and he of Wales, that gave Amamon the bastinado and swore the devil his true ligeman upon the
cross of a Welsh hook — what a plague call you him?
330
335
340
Poins O, Glendower.
Falstaff Owen, Owen, the same; and his son-in-law
Mortimer, and old Northumberland, and that
345
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Act II, Scene 4
79
sprightly Scot of Scots, Douglas, that runs o’ horseback up a hill perpendicular, —
Prince He that rides at high speed and with his
pistol kills a sparrow flying.
Falstaff You have hit it.
349.
pistol: an anachronism, because pistols were not in
use during Henry IV’s reign.
362–3.
you may buy land now as cheap as stinking
mackerel: land prices have fallen because of civil
instability.
371.
chid: told off.
350
Prince So did he never the sparrow.
Falstaff Well, that rascal hath good mettle in him;
he will not run.
Prince Why, what a rascal art thou then, to praise
him so for running!
355
Falstaff O’ horseback, ye cuckoo; but afoot he will
not budge a foot.
Prince Yes, Jack, upon instinct.
Falstaff I grant ye, upon instinct. Well, he is there
too, and one Mordake, and a thousand blue-caps
more: Worcester is stolen away to-night; thy father’s
beard is turned white with the news: you may buy
land now as cheap as stinking mackerel. But tell
me, Hal, art not thou horrible afeard? thou being
heir-apparent, could the world pick thee out three
such enemies again as that fiend Douglas, that spirit
Percy, and the devil Glendower? Art thou not horribly afraid? doth not thy blood thrill at it?
Prince Not a whit, i’ faith; lack some of thy instinct.
360
365
370
Falstaff Well, thou wilt be horribly chid to-morrow
when thou comest to thy father: if thou love me,
practise an answer.
Prince Do thou stand for my father, and examine
me upon the particulars of my life.
375
Falstaff Shall I? content: this chair shall be my
state, this dagger my sceptre, and this cushion my
crown.
Prince Thy state is taken for a joint-stool, thy golden sceptre for a leaden dagger, and thy precious
rich crown for a pitiful bald crown.
380
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Falstaff Well, an the fire of grace be not quite out
of thee, now shalt thou be moved. Give me a cup of
sack to make my eyes look red, that it may be
thought I have wept; for I must speak in passion,
and I will do it in King Cambyses’ vein.
385
386.
King Cambyses’ vein: in the ranting style of a
much-parodied play by Thomas Preston.
395.
tristful: sorrowing.
410.
micher: truant.
Prince Well, here is my leg.
Falstaff And here is my speech. Stand aside, nobility.
Hostess O Jesu, this is excellent sport, i’ faith!
390
Falstaff Weep not, sweet queen; for trickling tears
are vain.
Hostess O, the father, how he holds his countenance!
Falstaff For God’s sake, lords, convey my tristful
queen; For tears do stop the flood-gates of her eyes.
395
Hostess O Jesu, he doth it as like one of these
players as ever I see!
Falstaff Peace, good pint-pot; peace, good ticklebrain. Harry, I do not only marvel where thou
spendest thy time but also how thou art accompanied: for though the camomile, the more it is trodden on the faster it grows, yet youth, the more it is
wasted the sooner it wears. That thou art my son, I
have partly thy mother’s word, partly my own opinion, but chiefly a villainous trick of thine eye and a
foolish hanging of thy nether lip, that doth warrant
me. If then thou be son to me, here lies the point;
why, being son to me, art thou so pointed at? Shall
the blessed sun of heaven prove a micher and eat
blackberries? a question not to be asked. Shall the
son of England prove a thief and take purses? a
question to be asked. There is a thing, Harry, which
thou hast often heard of and it is known to many in
our land by the name of pitch: this pitch, as ancient
writers do report, doth defile; so doth the company thou keepest: for, Harry, now I do not speak to
thee in drink but in tears, not in pleasure but in passion, not in words only, but in woes also: and yet
400
405
410
415
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there is a virtuous man whom I have often noted in
thy company, but I know not his name.
Act II, Scene 4
81
420
Prince What manner of man, an it like your majesty?
Falstaff A goodly portly man, i’ faith, and a corpulent; of a cheerful look, a pleasing eye and a most
noble carriage; and, as I think, his age some fifty,
or, by’r lady inclining to three score; and now I remember me, his name is Falstaff; if that man should
be lewdly given, he deceiveth me; for, Harry, I see
virtue in his looks. If then the tree may be known by
the fruit, as the fruit by the tree, then, peremptorily
I speak it, there is virtue in that Falstaff: him keep
with, the rest banish. And tell me now, thou naughty
varlet, tell me, where hast thou been this month?
Prince Dost thou speak like a king? Do thou stand
for me, and I’ll play my father.
425
430
435
Falstaff Depose me? If thou dost it half so gravely,
so majestically, both in word and matter, hang me
up by the heels for a rabbit-sucker or a poulter’s hare.
Prince Well, here I am set.
437.
Depose: he has been deposed from playing the part
of the King to play the part of the Prince.
439.
rabbit-sucker: suckling rabbit.
446.
tickle: please.
450.
tun: huge cask.
452.
humours: bodily fluids. Contemporary medicine
believed there to be four humors: blood, phlegm,
choler, and melancholy.
440
Falstaff And here I stand: judge, my masters.
Prince Now, Harry, whence come you?
Falstaff My noble lord, from Eastcheap.
Prince The complaints I hear of thee are grievous.
Falstaff ’Sblood, my lord, they are false: nay, I’ll
tickle ye for a young prince, i’ faith.
Prince Swearest thou, ungracious boy? henceforth
ne’er look on me. Thou are violently carried away
from grace: there is a devil haunts thee in the likeness of an old fat man; a tun of man is thy companion. Why dost thou converse with that trunk of
humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack,
445
450
bolting-hutch: receptacle for dross.
453.
dropsies: diseased concentration of body fluids.
bombard: leather container.
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that stuffed cloak-bag, that roasted Manningtree ox,
that reverend vice, that grey iniquity, that father
ruffian, that vanity in years? Wherein is he good,
but to taste sack and drink it? wherein neat and
cleanly, but to carve a capon and eat it? wherein cunning, but in craft? wherein crafty, but in villainy?
wherein villainous, but in all things? wherein worthy,
but in nothing?
454.
Manningtree ox: Manning-tree in Essex was
noted for its roasted oxen at festival time.
455-456.
vice; iniquity; vanity: these might well have been
printed with capital letters since they are the
names of characters (personifications of various
common sins) in the old morality plays.
484.
watch: equivalent of police force.
455
460
Falstaff I would your grace would take me with
you: whom means your grace?
Prince That villainous abominable misleader of
youth, Falstaff, that old white-bearded Satan.
465
Falstaff My lord, the man I know.
Prince I know thou dost.
Falstaff But to say I know more harm in him than
in myself, were to say more than I know. That he is
old, the more the pity, his white hairs do witness it.
If sack and sugar be a fault, God help the wicked! if
to be old and merry be a sin, then many an old host
that I know is damned: if to be fat be to be hated,
then Pharaoh’s lean kine are to be loved. No, my
good lord; banish Peto, banish Bardolph, banish
Poins: but for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff, and
therefore more valiant, being, as he is, old Jack Falstaff, banish not him thy Harry’s company, banish
not him thy Harry’s company: banish plump Jack,
and banish all the world.
470
475
480
Prince I do, I will. [A knocking heard.]
[Exeunt Hostess, FRANCIS and BARDOLPH.]
[Re-enter BARDOLPH, running.]
Bardolph O, my lord, my lord! the sheriff with a
most monstrous watch is at the door.
Falstaff Out, ye rogue! Play out the play: I have
much to say in the behalf of that Falstaff.
[Re-enter the Hostess.]
Hostess O Jesu my lord, my lord!
485
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83
Prince Heigh, heigh! the devil rides upon a fiddlestick: what’s the matter?
Hostess The sheriff and all the watch are at the
door: they are come to search the house. Shall I let
them in?
Falstaff Dost thou hear, Hal? never call a true
piece of gold a counterfeit: thou are essentially mad,
without seeming so.
490
495
Prince And thou a natural coward, without instinct.
Falstaff I deny your major: if you will deny the
sheriff, so; if not, let him enter: if I become not a
cart as well as another man, a plague on my bringing
up! I hope I shall as soon be strangled with a halter
as another.
major: (pronounced mayor in the Latin way at this
time) a term in logic to denote the first and most
inclusive term in the syllogism, but here used also
as a pun on sheriff, because this officer reported to
the mayor, as chief magistrate.
498–9.
become not a cart: if I am not a credit to the cart
(which takes me to be executed).
502.
arras: tapestry wall-hanging.
509.
hue and cry: hunting terms for shouting of alarm or
protest (from the French verb huer, to shout).
500
Prince Go hide thee behind the arras: the rest walk
up above. Now, my masters, for a true face and good
conscience.
Falstaff Both which I have had: but their date is
out, and therefore I’ll hide me.
497.
505
Prince Call in the sheriff.
[Exeunt all except the PRINCE and PETO.]
[Enter Sheriff and the Carrier.]
Now master sheriff, what is your will with me?
Sheriff First, pardon me, my lord. A hue and cry
Hath follow’d certain men unto this house.
510
Prince What men?
Sheriff One of them is well known, my gracious
lord,
A gross fat man.
Carrier
As fat as butter.
Prince The man, I do assure you, is not here;
For I myself at this time have employ’d him.
And, sheriff, I will engage my word to thee
That I will, by to-morrow dinner-time,
Send him to answer thee, or any man,
For any thing he shall be charged withal:
And so let me entreat you leave the house.
515
520
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Sheriff I will, my lord. There are two gentlemen
Have in this robbery lost three hundred marks.
Prince It may be so: if he have robb’d these men,
He shall be answerable; and so farewell.
Sheriff Good night, my noble lord.
525
Prince I think it is good morrow, is it not?
Sheriff Indeed, my lord, I think it be two o’clock.
[Exeunt Sheriff and Carrier.]
Prince This oily rascal is known as well as Paul’s.
Go, call him forth.
Peto Falstaff! — Fast asleep behind the arras, and
snorting like a horse.
528.
Paul’s: St. Paul’s Cathedral, in London. Falstaff is
just as dominant a landmark.
537.
2s. 2d.: two shillings and two pence (said, “two
and tuppence”).
538.
4d.: four pence (said, “fourpence”).
539.
5s. 8d.: five shillings and eight pence (said, “five
and eightpence”).
541.
2s. 6d.: two shillings and six pence (said, “two
and sixpence”).
542.
ob.: “obulus,” a half-penny, sometimes said as
“ha’penny.”
544.
deal: portion.
545.
at more advantage: at a more suitable time.
549.
charge of foot: commission roughly equivalent to
a captaincy in the infantry.
550.
score: twenty. Twelve-score is thus 240.
551.
advantage: interest.
530
Prince Hark, how hard he fetches breath. Search
his pockets. [He searcheth his pockets and findeth
certain papers.] What hast thou found?
Peto Nothing but papers, my lord.
535
Prince Let’s see what they be: read them.
Peto [Reads] Item, A capon,
Item, Sauce,
Item, Sack, two gallons,
Item, Anchovies, and sack
after supper
Item, Bread,
2s. 2d.
4d.
5s. 8d.
540
2s. 6d.
ob.
Prince O monstrous! but one half-pennyworth of
bread to this intolerable deal of sack! What there is
else, keep close; we’ll read it at more advantage:
there let him sleep till day. I’ll to the court in the
morning. We must all to the wars, and thy place
shall be honourable. I’ll procure this fat rogue a
charge of foot; and I know his death will be a march
of twelve-score. The money shall be paid back with
advantage. Be with me betimes in the morning; and
so good morrow, Peto. [Exeunt.]
Peto Good morrow, good my lord.
545
550
betimes: early.
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85
COMMENTARY
ct II, Scene 4 is known as the first tavern scene and
A
is the longest scene in the play. It is much praised
by critics for its clever structure and for the insights it
offers into several key themes. The scene falls into three
parts: the comic teasing of Francis, the outcome of the
joke played upon Falstaff, and the improvised role-play
of Falstaff and Prince Hal.
Gamblers outside of a tavern.
Pushkin Museum of Fine Arts, Moscow/SuperStock
The Prince tells Poins how well he has been
received by the tavern group at Eastcheap. He is on
first-name terms with all of them and describes how
they have welcomed him into their company as an
equal. He might be a prince, they say, but in matters of
courtesy he is a king. Hal clearly has “the common
touch,” and he is proud of it. He is in high spirits.
Falstaff and the others haven’t yet returned, so, “to
drive away the time” until they do, Prince Hal proposes
another joke that he and Poins should play, this time
upon Francis, one of the tavern’s “drawers” (the rough
equivalent of waiters or barmen). The Prince will
engage Francis in a complicated conversation, which
Poins will repeatedly interrupt by calling for service
from an adjoining room. Poor Francis is so confused by
Hal and Poins that eventually he “stands amazed, not
knowing which way to go.”
Hal’s actions have a kind of symbolic significance.
The audience knows that he is play-acting with Francis,
pretending to be serious when he is not. Francis is
stupid and takes him at face value. The result is comic.
But what the audience also knows is that Hal is acting
a part all the time (he has said so in his soliloquy at the
end of Act I, Scene 2). So Hal is acting at acting — a
kind of double-take on the theme, which makes the
audience think more deeply about the difference
between how people appear and how people really are.
And just before Falstaff and the others appear, Hal
indulges in more role-play. He invents a conversation
between Hotspur and his wife, parodying them both to
comic effect. The audience knows how well he lampoons the Hotspurs because Shakespeare has shown
them to us in the previous scene.
The second part of Act II, Scene 4, begins with the
arrival of Falstaff, Gadshill, Bardolph, and Peto. Shakespeare last showed them
running for their lives. Falstaff calls Poins and
Prince Hal cowards
for deserting them and
invents a fantastic tale of
how they were set upon by a
huge band of robbers who
relieved them of their plunder
after a valiant life-and-death
struggle. The audience knows
all this is a lie; so do Poins and the
Prince, of course. The number of assailants A doublet.
that Falstaff allegedly fought off grows with
the telling, despite the fact that it must be obvious to
everyone that he is lying. (It was so dark, he says, that
you could not see your own hand; yet he claims to know
the color of the clothing worn by his assailants.)
The Prince finally tells them the truth. The audience
might expect Falstaff to be deflated by this; but, on the
contrary (after, perhaps, no more than a pause for
breath), he claims to have known all the while (by
“instinct”) that one of his attackers had been the Prince.
“Why, hear you, my masters: was it for me to kill the
heir-apparent?” We can only be impressed by Falstaff’s
brazenness. In the space of a few lines, he is off the
hook and proposing that they should have some fun by
acting out a play. And why not, says Prince Hal. The plot
(“the argument”) can be Falstaff’s running away.
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Act II, Scene 4
The Hostess tells the friends that a nobleman
has arrived to give the Prince a message from
his father, the King. Falstaff goes to head him
off, and, when he has gone, the others admit
to the tricks they used to make it look like they
had been in a fierce fight. When Falstaff returns,
he says that the King has summoned Hal to
him and that “There’s villainous news
abroad”: The rebels are assembling. Falstaff says that Hal is certain to be given
a telling-off by his father when he goes
to him, and he had better prepare himself for it; Hal suggests they act out
the interview.
The scene Hal and Falstaff
play out is deliciously comic,
as the Hostess’s delighted
interjections suggest. Falstaff
consciously adopts a high
tragic style. His speech is full of
rhetorical devices (the tricks of the
trade of the formal speaker) and is
beautifully structured. He brings up
the subject of the low company that
Hal keeps, but points out that he
should stand by one of his friends, Falstaff, “A good portly man, i’ faith.”
This interlude is ended by the arrival of the
Sheriff and his watchmen who are hunting for
Falstaff and his companions. They have been
followed to the tavern after the robbery. Hal
assumes a princely manner and tells the Sheriff (in blank verse, appropriate to his dignity) that
they are not there, although they are in fact
hiding behind the arras. When the Sheriff has gone, Fastaff is found to have
fallen asleep. Hal goes through his
pockets and finds tavern bills. At
the end of the scene, we are
reminded that a war is coming: Hal says he will get his fat
friend a commission in the
army, which will have to be
raised to fight in it. His salary
will enable him to pay his
huge debts.
Shakespeare develops
several main themes in this
long and important scene.
He creates a play on the difference between appearance and
reality. The Prince acts out — and
enjoys — the part of a regular customer
of the tavern, where he is accepted on
equal terms. He acts out a joke upon
poor Francis, the apprentice drawer. He
imitates the speech and mannerisms of
Hotspur and his wife, and he jokingly
plays out the part of his father. These
variations on the idea of pretending
to be what one is not are too many
to be coincidental.
They change places: Hal plays his own
father, Falstaff plays Hal. Hal, acting the part
of King Henry, also singles out Falstaff for
comment: “there is a devil haunts thee in the
likeness of an old fat man,” he says, and
then launches into a catalog of magnificent insults to describe him. Hal uses
A gentleman wearing hose.
alliteration for emphasis (“that boltingThe relationship of fathers and sons is also taken furhutch of beastliness . . . that huge bombard of sack”)
and asks eight damning rhetorical questions to which
ther. Once more, comedy and seriousness combine, for
he explicitly supplies the answer. Though it is obvious
as we laugh at the way that Hal and Falstaff tease each
that this is a description of Falstaff, Falstaff (as Hal) asks
other in their play-acting of the coming encounter
(and we can imagine his quizzical pause) “whom means
between Hal and his father, the King, we are also aware
your grace?” Falstaff (as Hal) then speaks up for his real
that the Prince has determined to “reform” and abanself, pleading that he should not be banished, but Hal
don his irresponsible life. That life, of course, includes
(as the King) says that he will in fact do so (as, indeed,
Falstaff; the audience naturally begins to feel unsettled
he does, when he becomes King at the end of Henry IV,
at the prospect of this delightful friendship coming to an
end. Meanwhile, Hal continues to show loyalty to FalPart 2 ).
staff in hiding him from the Sheriff.
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The original St Paul’s Cathedral dominated the skyline of medieval London. It was burned down in the great fire of 1666, and its replacement designed by Sir Christopher Wren.
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Notes
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CLIFFSCOMPLETE
ACT III
Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
King And in that very line, Harry, standest thou;
For thou hast lost thy princely privilege
With vile participation: not an eye
But is a-weary of thy common sight,
Save mine, which hath desired to see thee more;
Which now doth that I would not have it do,
Make blind itself with foolish tenderness.
Prince I shall hereafter, my thrice gracious lord,
Be more myself.
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Act III,
Scene 1
Act III, Scene 1
91
The rebels meet, and Glendower and Hotspur argue. They decide how
they will divide up the kingdom when they have defeated the King. The
wives of Glendower and Hotspur show their contrasting characters.
ACT III, SCENE 1
Bangor, the Archdeacon’s house.
NOTES
[Enter HOTSPUR, WORCESTER, MORTIMER, and
GLENDOWER.]
Mortimer These promises are fair, the parties sure,
And our induction full of prosperous hope.
Hotspur Lord Mortimer, and cousin Glendower,
Will you sit down?
And uncle Worcester: a plague upon it!
I have forgot the map.
Glendower
No, here it is.
Sit, cousin Percy; sit, good cousin Hotspur,
For by that name as oft as Lancaster
Doth speak of you, his check looks pale and with
A rising sigh he wisheth you in heaven.
1.
promises: i.e., those made by rebel-sympathizers in
different parts of the country to send support.
2.
induction: being lead in to claim the throne at the
coronation.
8.
Lancaster: Henry IV’s family name from the dukedom of Lancaster.
5
10
Hotspur And you in hell as often as he hears
Owen Glendower spoke of.
Glendower I cannot blame him: at my nativity
The front of heaven was full of fiery shapes,
Of burning cressets: and at my birth
The frame and huge foundation of the earth
Shaked like a coward.
Hotspur Why, so it would have done at the same
season, if your mother’s cat had but kittened, though
yourself had never been born.
Glendower I say the earth did shake when I was
born.
Hotspur And I say the earth was not of my mind,
If you suppose as fearing you it shook.
15
20
14.
front: forehead.
15.
cressets: open lamp or fire-basket set up to a beacon (used figuratively here).
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Act III, Scene 1
Glendower The heavens were all on fire, the earth
did tremble.
Hotspur O, then the earth shook to see the heavens
on fire,
And not in fear of your nativity.
Diseased nature oftentimes breaks forth
In strange eruptions; oft the teeming earth
Is with a kind of colic pinch’d and vex’d
By the imprisoning of unruly wind
Within her womb; which, for enlargement striving,
Shakes the old beldam earth and topples down
Steeples and moss-grown towers. At your birth
Our grandam earth, having this distemperature,
In passion shook.
Glendower
Cousin, of many men
I do not bear these crossings. Give me leave
To tell you once again that at my birth
The front of heaven was full of fiery shapes,
The goats ran from the mountains, and the herds
Were strangely clamorous to the frighted fields.
These signs have mark’d me extraordinary
And all the courses of my life do show
I am not in the roll of common men.
Where is he living, clipp’d in with the sea
That chides the banks of England, Scotland, Wales,
Which calls me pupil, or hath read to me?
And bring him out that is but woman’s son
Can trace me in the tedious ways of art
And hold me pace in deep experiments.
25
30
35
beldam: grandmother (note the sustained
metaphor to describe earthquakes).
35.
distemperature: illness or other physical disorder.
37.
crossings: contradictions.
41.
clamorous: crying aloud.
40
frighted fields: transferred epithet.
45
50
Hotspur I think there’s no man speaks better
Welsh.
I’ll to dinner.
Mortimer Peace, cousin Percy; you will make him
mad.
Glendower I can call spirits from the vasty deep.
Hotspur Why, so can I, or so can any man;
But will they come when you do call for them?
33.
55
44.
roll: book of names (used figuratively).
45.
clipp’d in: surrounded by.
46.
chides: the angry vehemence and lashing of
water.
50.
hold me pace in deep experiments: keep up with
me in deep magic.
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Act III, Scene 1
93
Glendower Why, I can teach you, cousin, to command
The devil.
Hotspur And I can teach thee, coz to shame the
devil
By telling truth: to tell truth and shame the devil.
If thou have power to raise him, bring him hither,
And I’ll be sworn I have power to shame him hence.
O, while you live, tell truth and shame the devil!
60
Mortimer Come, come, no more of this unprofitable
chat.
Glendower Three times hath Henry Bolingbroke
made head
Against my power; thrice from the banks of Wye
And sandy-bottom’d Severn have I sent him
Bootless home and weather-beaten back.
Hotspur Home without boots, and in foul weather
too!
How ’scapes he agues, in the devil’s name?
65
70
65.
made head: brought together an armed force for the
purpose of attacking.
66.
power: army.
70.
agues: fevers.
81.
indentures tripartite: contract drawn up in triplicate
(by the Archdeacon).
Glendower Come, here’s the map: shall we divide
our right
According to our threefold order ta’en?
Mortimer The archdeacon hath divided it
Into three limits very equally:
England, from Trent and Severn hitherto,
By south and east is to my part assign’d:
All westward, Wales beyond the Severn shore,
And all the fertile land within that bound,
To Owen Glendower: and, dear coz, to you
The remnant northward, lying off from Trent.
And our indentures tripartite are drawn;
Which being sealed interchangeably,
A business that this night may execute,
To-morrow, cousin Percy, you and I
And my good Lord of Worcester will set forth
To meet your father and the Scottish power,
As is appointed us, at Shrewsbury.
75
80
85
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Act III, Scene 1
My father Glendower is not ready yet,
Nor shall we need his help these fourteen days.
Within that space you may have drawn together
Your tenants, friends and neighbouring gentlemen.
Glendower A shorter time shall send me to you,
lords:
And in my conduct shall your ladies come:
From whom you now must steal and take no leave,
For there will be a world of water shed
Upon the parting of your wives and you.
Hotspur Methinks my moiety, north from Burton
here,
In quantity equals not one of yours:
See how this river comes me cranking in,
And cuts me from the best of all my land
A huge half-moon, a monstrous cantle out.
I’ll have the current in this place damm’d up;
And here the smug and silver Trent shall run
In a new channel, fair and evenly;
It shall not wind with such a deep indent,
To rob me of so rich a bottom here.
88.
father: short for father-in-law.
97.
moiety: share or portion (not half, since more than
two parts are involved).
99.
cranking: winding.
101.
cantle: literally, corner-piece or segment of a
sphere.
111.
Gelding: depriving of an essential part.
90
95
100
105
Glendower Not wind? it shall, it must, you see it
doth.
Mortimer Yea, but
Mark how he bears his course, and runs me up
With like advantage on the other side;
Gelding the opposed continent as much
As on the other side it takes from you.
Worcester Yea, but a little charge will trench him
here
And on this north side win this cape of land;
And then he runs straight and even.
Hotspur I’ll have it so: a little charge will do it.
Glendower I’ll not have it alter’d.
Hotspur
Will not you?
Glendower No, nor you shall not.
110
115
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Hotspur
Act III, Scene 1
95
Who shall say me nay?
Glendower Why, that will I.
Hotspur Let me not understand you, then; speak it
in Welsh.
Glendower I can speak English, lord, as well as you;
For I was train’d up in the English court;
Where, being but young, I framed to the harp
Many an English ditty lovely well
And gave the tongue a helpful ornament,
A virtue that was never seen in you.
Hotspur Marry,
And I am glad of it with all my heart:
I had rather be a kitten and cry mew
Than one of these same metre ballad-mongers;
I had rather hear a brazen canstick turn’d,
Or a dry wheel grate on the axle-tree;
And that would set my teeth nothing on edge,
Nothing so much as mincing poetry:
’Tis like the forced gait of a shuffling nag.
120
124.
lovely well: a Welsh idiom.
126.
virtue: skill or art here.
130.
ballad-mongers: contemptuous term for balladmakers.
131.
canstick: short form for candlestick (turned on a
lathe, a noisy process).
132.
grate: scrape loudly.
135
134.
mincing: affected.
140
140.
cavil: raise trivial objections.
149.
moldwarp: mole (the animal).
150.
Merlin: magician who aided King Arthur.
125
130
Glendower Come, you shall have Trent turn’d.
Hotspur I do not care: I’ll give thrice so much land
To any well-deserving friend;
But in the way of bargain, mark ye me,
I’ll cavil on the ninth part of a hair.
Are the indentures drawn? shall we be gone?
Glendower The moon shines fair; you may away
by night:
I’ll haste the writer and withal
Break with your wives of your departure hence:
I am afraid my daughter will run mad,
So much she doteth on her Mortimer. [Exit.]
145
Mortimer Fie, cousin Percy! how you cross my
father!
Hotspur I cannot choose: sometime he angers me
With telling me of the moldwarp and the ant,
Of the dreamer Merlin and his prophecies,
150
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Act III, Scene 1
And of a dragon and a finless fish,
A clip-wing’d griffin and a moulten raven,
A couching lion and a ramping cat,
And such a deal of skimble-skamble stuff
As puts me from my faith. I tell you what;
He held me last night at least nine hours
In reckoning up the several devils’ names
That were his lackeys; I cried ‘hum,’ and ‘well, go to,’
But mark’d him not a word. O, he is as tedious
As a tired horse, a railing wife;
Worse than a smoky house: I had rather live
With cheese and garlic in a windmill, far,
Than feed on cates and have him talk to me
In any summer-house in Christendom.
Mortimer In faith, he is a worthy gentleman,
Exceedingly well read, and profited
In strange concealments, valiant as a lion
And wondrous affable and as bountiful
As mines of India. Shall I tell you, cousin?
He holds your temper in high respect
And curbs himself even of his natural scope
When you come ’cross his humour; faith, he does:
I warrant you, that man is not alive
Might so have tempted him as you have done,
Without the taste of danger and reproof:
But do not use it oft, let me entreat you.
Worcester In faith, my lord, you are too wilfulblame;
And since your coming hither have done enough
To put him quite beside his patience.
You must needs learn, lord, to amend this fault:
Though sometimes it show greatness, courage,
blood —
And that’s the dearest grace it renders you —
Yet oftentimes it doth present harsh rage,
Defect of manners, want of government,
Pride, haughtiness, opinion and disdain:
The least of which haunting a nobleman
152.
griffin: mythical creature with the head, wings,
and forelegs of an eagle, and the body, hind legs,
and tail of a lion.
moulten: having moulted.
153.
couching: lying down.
155
ramping: rearing up (from heraldic terms “rampant” and “couchant”).
160
154.
skimble-skamble stuff: confused, rambling
nonsense.
160.
railing: nagging.
163.
cates: dainties, delicacies.
177.
wilful-blame: deliberately provoking, and to be
blamed for being so.
165
170
175
180
185
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Act III, Scene 1
97
Loseth men’s hearts and leaves behind a stain
Upon the beauty of all parts besides,
Beguiling them of commendation.
Hotspur Well, I am school’d: good manners be
your speed!
Here come our wives, and let us take our leave.
190
190.
school’d: disciplined as by a schoolmaster.
196.
Aunt Percy: Kate (Hotspur’s wife).
198.
peevish: cross, fretful, complaining.
203.
parley: conversation.
208.
ditties highly penn’d: lyrics written in a courtly cavalier style or by courtiers of high birth, or both.
210.
division: complex (melodic) variation.
[Re-enter GLENDOWER with the Ladies.]
Mortimer This is the deadly spite that angers me.
My wife can speak no English, I no Welsh.
Glendower My daughter weeps: she will not part
with you;
She’ll be a soldier too, she’ll to the wars.
195
Mortimer Good father, tell her that she and my
Aunt Percy
Shall follow in your conduct speedily.
[GLENDOWER speaks to her in Welsh, and she answers him in
the same.]
Glendower She is desperate here; a peevish selfwilled thing,
That no persuasion can do good upon.
[The lady speaks in Welsh.]
Mortimer I understand thy looks: that pretty Welsh
Which thou pour’st down from these swelling heavens
I am too perfect in; and, but for shame,
In such a parley should I answer thee.
[The lady speaks again in Welsh.]
I understand thy kisses and thou mine,
And that’s a feeling disputation:
But I will never be a truant, love,
Till I have learn’d thy language; for thy tongue
Makes Welsh as sweet as ditties highly penn’d,
Sung by a fair queen in a summer’s bower,
With ravishing division, to her lute.
Glendower Nay, if you melt, then will she run mad.
200
205
210
lute: stringed instrument like a small guitar.
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Act III, Scene 1
[The lady speaks again in Welsh.]
Mortimer O, I am ignorance itself in this!
Glendower She bids you on the rushes lay you
down
And rest your gentle head upon her lap,
And she will sing the song that pleaseth you
And on your eyelids crown the god of sleep,
Charming your blood with pleasing heaviness,
Making such difference ’twixt wake and sleep
As is the difference betwixt day and night
The hour before the heavenly-harness’d team
Begins his golden progress in the east.
215
220
Mortimer With all my heart I’ll sit and hear her
sing:
By that time will our book, I think, be drawn.
Glendower Do so;
And those musicians that shall play to you
Hang in the air a thousand leagues from hence,
And straight they shall be here: sit, and attend.
Hotspur Come, Kate, thou art perfect in lying
down: come, quick, quick, that I may lay my head in
thy lap.
225
230
Lady Percy Go, ye giddy goose. [The music plays.]
Hotspur Now I perceive the devil understands
Welsh;
And ’tis no marvel he is so humorous.
By’r lady, he is a good musician.
Lady Percy Then should you be nothing but musical, for you are altogether governed by humours. Lie
still, ye thief, and hear the lady sing in Welsh.
humorous: moody.
236.
humours: moods.
238.
brach: female hunting dog.
235
Hotspur I had rather hear Lady, my brach, howl in
Irish.
Lady Percy Wouldst thou have thy head broken?
Hotspur No.
233.
240
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Act III, Scene 1
99
Lady Percy Then be still.
Hotspur Neither; ’tis a woman’s fault.
Lady Percy Now God help thee! What’s that?
Hotspur Peace! she sings.
[Here the lady sings a Welsh song.]
Hotspur Come, Kate, I’ll have your song too.
245
Lady Percy Not mine, in good sooth.
Hotspur Not yours, in good sooth! Heart! you
swear like a comfit-maker’s wife. ‘Not you, in good
sooth’, and ‘as true as I live’, and ‘as God shall mend
me’, and ‘as sure as day’.
And givest such sarcenet surety for thy oaths,
As if thou never walk’st further than Finsbury.
Swear me, Kate, like a lady as thou art.
A good mouth-filling oath, and leave ‘in sooth’,
And such protest of pepper-gingerbread,
To velvet-guards and Sunday-citizens.
Come, sing.
248.
comfit-maker’s: sweetmeat or confectionerymaker’s.
251.
sarcenet: fine, soft silk material.
252.
Finsbury: Finsbury Fields, a popular place of recreation for Londoners.
254.
‘in sooth’: “in truth,” a very mild oath.
255.
protest of pepper-gingerbread: exclamations that
make only a little hotness in the mouth.
256.
velvet-guards: wearers of velvet trimmings or such
finery.
259–260.
red-breast: robin. The idea is that robins are naturally well-dressed, unlike people.
264.
but: only, just.
250
255
Lady Percy I will not sing.
Hotspur ’Tis the next way to turn tailor, or be redbreast teacher. An the indentures be drawn, I’ll away
within these two hours; and so, come in when ye will.
260
[Exit.]
Glendower Come, come, Lord Mortimer; you are
as slow
As hot Lord Percy is on fire to go.
By this our book is drawn; we’ll but seal,
And then to horse immediately.
Mortimer
265
With all my heart. [Exeunt.]
seal: affix wax seals in confirmation of the signed
agreement.
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Act III, Scene 1
Page 100
COMMENTARY
n Act III, Scene 1, the play
Irebels
returns to the main plot. The
are meeting, and Mortimer’s first speech sums up
their optimism. Hotspur
begins to speak courteously
to the others but immediately
interrupts himself with a flash
of impetuous bad temper: “a
plague upon it! I have forgot
the map.” Note that he is just
as quick to jump to conclusions in little things as in big
ones. He hasn’t forgotten the
map at all; it was there all the
time. If he’d looked before
speaking, he’d have found it.
Shakespeare brings in
Owen Glendower for the first
time in this scene. In Act 1,
Scene 1, Westmoreland says
that Glendower is “irregular
and wild.” Now the audience
can judge for themselves.
Glendower is certainly full of
himself, and it is soon clear
that he and Hotspur aren’t
going to get along well
together, because each, in his
way, is an egotist.
Glendower also begins
with courtesy, complimenting
Hotspur at the fear King
Henry shows when his name
is mentioned. Hotspur returns
the compliment, saying that
Henry is equally wary of Merlin, the legendary wizard who aided King Arthur.
Glendower;
Glendower Newberry Library, Chicago/SuperStock
replies that he can’t blame
is “not in the roll of common men.” With sweeping arrothe King for being wary of him, because his birth was
gance, he asks, “Where is he living . . . Which calls me
marked by fantastic omens. Hotspur scoffs at this, and
pupil, or hath read to me?”
they argue. Glendower says that he wouldn’t put up
with this sort of contradiction from most people, for he
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Act III, Scene 1
101
Hotspur can’t stand Glendower’s self-importance, and
is rudely dismissive of his claims. A wiser man would perhaps have tolerated such egotism, or even flattered it;
after all, the rebels need Glendower’s support. But Hotspur is, as ever, impetuous and intolerant. When Glendower reminds them that he has three times repulsed the
King’s attacks, Hotspur turns his words into a joke.
The rebel leaders then look at the map of the kingdom, which the archdeacon has divided into three, so
that when the King is defeated, each of them can rule a
part of it. Hotspur instantly complains that his share is
less than the others’, because the River Trent, which
has been chosen as one of his boundaries, makes a
large loop that robs him of an area of land. Mortimer
points out that the river also loops the other way at
another point, making up for that loss. Worcester says
that the course of the river could be straightened, and
Glendower objects at first, but then gives in, only for
Hotspur to say he does not care about it after all; he only
wanted to win the argument. Glendower leaves to tell
their womenfolk that they will soon be departing.
All this bodes ill for the rebel cause. The clash of personalities between Hotspur and Glendower is ominous.
Hotspur shows neither tact nor good sense. Glendower
is more flexible, but he is also proud, and Hotspur insults
his pride directly, speaking contemptuously of his language and his artistic achievements. While Glendower
is away, Hotspur explains to Mortimer and Worcester
why he can’t stand Glendower. Hotspur can’t tolerate
Glendower’s talk of signs and portents “And such a deal
of skimble-skamble stuff.”
Mortimer tries to persuade him to consider Glendower’s virtues: He is scholarly, has mystical insights, and
is brave and generous. Moreover, he has shown Hotspur
great respect by putting up with his insults. He shouldn’t
push his luck. Worcester agrees: “In faith, my lord, you
are too wilful-blame,” that is, too quick to criticize. Willfulness can sometimes be a good quality in a leader, but
it can also show pettiness, too. Hotspur’s response —
“Well, I am school’d” — is almost certainly ironic.
An Elizabethan lute.
Musee de Louvre, Paris/Giraudon, Paris/SuperStock
Glendower returns with the ladies, and Mortimer
expresses sorrow that his wife can speak no English,
and that he cannot understand her Welsh. Glendower
translates for his daughter and son-in-law. She wants
to sing to comfort him. They are obviously very much in
love, despite the language problem, and treat each
other with affection and gentleness.
Hotspur and Kate have a rather different kind of relationship. Hotspur bluntly complains to her that he can’t
stand the sound of the Welsh singing and the music and
asks her to sing something for him. He complains that she
curses too gently; he would rather that she swore “A good
mouth-filling oath.” She refuses to sing; they all leave.
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Act III, Scene 1
This scene is an important one, because it shows the
essential disunity of the rebels. Hotspur and Glendower
are clearly never going to get along. Shakespeare illustrates this not just by the way that they argue, but by the
very different ways in which they relate to their wives.
Language, too, sets them apart. Hotspur can’t speak
Welsh, and despises it; Glendower can speak English,
though, and very poetically. Hotspur despises that, too:
He does not respect fine or gentle sentiments. Their diction (the kind of vocabulary they use) is very different.
Glendower’s speeches are full of grandiose words and
phrases. He repeatedly refers to himself in the context
of “heaven.” Although its primary meaning here is “the
skies,” it also suggests that he thinks of himself as recognized by Heaven itself as having a grand and fateful
role to play. Hotspur’s language is far more blunt and
down-to-earth, and that’s how he likes it to be — hence
his remarks about swearing to Kate.
Shakespeare expresses the clash of characters
through this clash of languages. A neat example of this
comes in lines 57–59, when Glendower addresses Hotspur as “you, cousin” and is replied to as “thee, coz.”
Respectful formality is answered by over-familiarity
amounting to rudeness. Glendower is, after all, Hotspur’s elder.
There is a deeper significance to all this disunity. One
of Shakespeare’s main themes in this play — and,
indeed, in many others — is the problem of kingship
(see the “Introduction” for more on this crucial topic).
We are left in no doubt after this scene that if the rebels
succeed in their plan to overthrow the King, chaos will
follow.
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Page 103
Act III,
Scene 2
Act III, Scene 2
103
The King confronts Hal with his faults. The Prince promises to mend his
ways, and the King agrees to give him a command in the army that will be
raised to fight the rebels.
ACT III, SCENE 2
London, the palace.
NOTES
[Enter the KING, PRINCE OF WALES, and Others.]
King Lords, give us leave: the Prince of Wales
and I
Must have some private conference; but be near at
hand,
For we shall presently have need of you.
[Exeunt Lords.]
I know not whether God will have it so,
For some displeasing service I have done,
That, in his secret doom, out of my blood
He’ll breed revengement and a scourge for me;
But thou dost in thy passages of life
Make me believe that thou art only mark’d
For the hot vengeance and the rod of heaven
To punish my mistreadings. Tell me else,
Could such inordinate and low desires,
Such poor, such bare, such lewd, such mean attempts,
Stuch barren pleasures, rude society,
As thou art match’d withal and grafted to,
Accompany the greatness of thy blood
And hold their level with thy princely heart?
Prince So please your majesty, I would I could
Quit all offences with as clear excuse
As well as I am doubtless I can purge
Myself of many I am charged withal:
Yet such extenuation let me beg,
As, in reproof of many tales devised,
Which oft the ear of greatness needs must hear,
By smiling pick-thanks and base newsmongers,
1.
give us leave: kindly leave us.
6.
doom: judgment.
8.
thy passages of life: the way you lead your life.
5
10
15
12.
inordinate: out of the limits of order.
13.
attempts: high jinks.
15.
withal: with.
grafted: joined.
18.
quit: acquit myself of.
25.
pick-thanks: flatterers.
20
25
newsmongers: gossips.
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Act III, Scene 2
I may, for some things true, wherein my youth
Hath faulty wander’d and irregular,
Find pardon on my true submission.
King God pardon thee! yet let me wonder, Harry,
At thy affections, which do hold a wing
Quite from the flight of all thy ancestors.
Thy place in council thou hast rudely lost,
Which by thy younger brother is supplied,
And art almost an alien to the hearts
Of all the court and princes of my blood:
The hope and expectation of thy time
Is ruin’d, and the soul of every man
Prophetically do forethink thy fall.
Had I so lavish of my presence been,
So common-hackney’d in the eyes of men,
So stale and cheap to vulgar company,
Opinion, that did help me to the crown,
Had still kept loyal to possession
And left me in reputeless banishment,
A fellow of no mark nor likelihood.
By being seldom seen, I could not stir
But like a comet I was wonder’d at;
That men would tell their children ‘This is he’;
Others would say ‘Where, which is Bolingbroke?’
And then I stole all courtesy from heaven,
And dress’d myself in such humility
That I did pluck allegiance from men’s hearts,
Loud shouts and salutations from their mouths,
Even in the presence of the crowned king.
Thus did I keep my person fresh and new;
My presence, like a robe pontifical,
Ne’er seen but wonder’d at: and so my state,
Seldom but sumptuous, showed like a feast
And won by rareness such solemnity.
The skipping king, he ambled up and down
With shallow jesters and rash bavin wits,
Soon kindled and soon burnt; carded his state,
Mingled his royalty with capering fools,
Had his great name profaned with their scorns
30
30.
affections: inclinations.
39.
lavish of: free with.
40.
common-hackney’d: ordinary, workaday.
43.
to possession: to the possessor of it, i.e.,
Richard II.
44.
reputeless: disreputable.
45.
mark: reputation.
47.
comet: meteor (thought to be an omen of disorder).
56.
pontifical: pertaining to a bishop or a pope.
60.
skipping king: gives an effect of light-heartedness
and irresponsibility.
61.
bavin: brushwood (“soon ablaze”).
62.
carded: mixed with something base.
35
40
45
50
55
60
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Page 105
And gave his countenance, against his name,
To laugh at gibing boys and stand the push
Of every beardless vain comparative,
Grew a companion to the common streets,
Enfeoff ’d himself to popularity;
That, being daily swallow’d by men’s eyes,
They surfeited with honey and began
To loathe the taste of sweetness, whereof a little
More than a little is by much too much.
So when he had occasion to be seen,
He was but as the cuckoo is in June,
Heard, not regarded; seen, but with such eyes
As, sick and blunted with community,
Afford no extraordinary gaze,
Such as is bent on sun-like majesty
When it shines seldom in admiring eyes;
But rather drowsed and hung their eyelids down,
Slept in his face and render’d such aspect
As cloudy men use to their adversaries,
Being with his presence glutted, gorged and full.
And in that very line, Harry, standest thou;
For thou hast lost thy princely privilege
With vile participation: not an eye
But is a-weary of thy common sight,
Save mine, which hath desired to see thee more;
Which now doth that I would not have it do,
Make blind itself with foolish tenderness.
Act III, Scene 2
105
65
66.
stand the push: put up with.
69.
Enfeoff’d himself: surrendered himself.
75.
cuckoo: bird common in June hence ignored.
77.
community: commonness.
78.
Afford: bestow.
83.
cloudy: sullen.
87.
vile participation: keeping company with low people.
95.
Ravenspurgh: the port at which he landed on return
from exile.
97.
to boot: as well.
100.
colour: appearance.
101.
harness: armour, i.e., armed men.
70
75
80
85
90
Prince I shall hereafter, my thrice gracious lord,
Be more myself.
King
For all the world
As thou art to this hour was Richard then
When I from France set foot at Ravenspurgh,
And even as I was then is Percy now.
Now, by my sceptre and my soul to boot,
He hath more worthy interest to the state
Than thou the shadow of succession:
For of no right, nor colour like to right,
He doth fill fields with harness in the realm,
Turns head against the lion’s armed jaws,
95
100
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Act III, Scene 2
And, being no more in debt to years than thou,
Leads ancient lords and reverend bishops on
To bloody battles and to bruising arms.
What never-dying honour hath he got
Against renowned Douglas! whose high deeds,
Whose hot incursions and great name in arms
Holds from all soldiers chief majority
And military title capital
Through all the kingdoms that acknowledge Christ:
Thrice hath this Hotspur, Mars in swathling clothes,
This infant warrior, in his enterprises
Discomfited great Douglas, ta’en him once,
Enlarged him and made a friend of him,
To fill the mouth of deep defiance up
And shake the peace and safety of our throne.
And what say you to this? Percy, Northumberland,
The Archbishop’s grace of York, Douglas, Mortimer,
Capitulate against us and are up.
But wherefore do I tell these news to thee?
Why, Harry, do I tell thee of my foes,
Which art my near’st and dearest enemy?
Thou that art like enough, through vassal fear,
Base inclination and the start of spleen,
To fight against me under Percy’s pay,
To dog his heels and curtsy at his frowns,
To show how much thou art degenerate.
Prince Do not think so; you shall not find it so:
And God forgive them that so much have sway’d
Your majesty’s good thoughts away from me!
I will redeem all this on Percy’s head
And in the closing of some glorious day
Be bold to tell you that I am your son;
When I will wear a garment all of blood
And stain my favours in a bloody mask,
Which, wash’d away, shall scour my shame with it:
And that shall be the day, whene’er it lights,
That this same child of honour and renown,
This gallant Hotspur, this all-praised knight,
And your unthought-of Harry chance to meet.
For every honour sitting on his helm,
105
109.
majority: eminence.
112.
Mars: god of war.
110
swathling clothes: wrappings of an infant.
115
120
120.
Capitulate: draw up articles of agreement.
up: up in arms.
125
124.
vassal: feudal inferior.
125.
start of spleen: outburst of bad temper.
142.
helm: helmet.
130
135
140
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Would they were multitudes, and on my head
My shames redoubled! for the time will come,
That I shall make this northern youth exchange
His glorious deeds for my indignities.
Percy is but my factor, good my lord,
To engross up glorious deeds on my behalf;
And I will call him to so strict account,
That he shall render every glory up,
Yea, even the slightese worship of his time,
Or I will tear the reckoning from his heart.
This, in the name of God, I promise here:
The which if He be pleased I shall perform,
I do beseech your majesty may salve
The long-grown wounds of my intemperance:
If not, the end of life cancels all bands;
And I will die a hundred thousand deaths
Ere break the smallest parcel of this vow.
King A hundred thousand rebels die in this:
Thou shalt have charge and sovereign trust herein.
Act III, Scene 2
107
145
147.
factor: agent.
148.
engross up: amass.
151.
worship: honor.
155.
salve: heal (with soothing ointment).
159.
parcel: part.
167.
head: military force.
172.
advertisement: news or information.
177.
Our business valued: when we have weighed up
what we must do.
150
155
160
[Enter BLUNT.]
How now, good Blunt? thy looks are full of speed.
Blunt So hath the business that I come to speak of.
Lord Mortimer of Scotland hath sent word
That Douglas and the English rebels met
The eleventh of this month at Shrewsbury:
A mighty and fearful head they are,
If promises be kept on every hand,
As ever offer’d foul play in a state.
King The Earl of Westmoreland set forth to-day;
With him my son, Lord John of Lancaster;
For this advertisement is five days old:
On Wednesday next, Harry, you shall set forward;
On Thursday we ourselves will march: our meeting
In Bridgenorth: and, Harry, you shall march
Through Gloucestershire; by which account,
Our business valued, some twelve days hence
Our general forces at Bridgenorth shall meet.
Our hands are full of business: let’s away:
Advantage feeds him fat while men delay. [Exeunt.]
165
170
175
180
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Act III, Scene 2
COMMENTARY
e now see the meeting between father and son for
W
which Falstaff helped to prepare Hal in their playacting in the last scene of Act II. The reality is far from
comic. The King does not hide his disappointment in the
Prince. He wonders what he has done that has led God
to send him such a son as a punishment. What other
explanation can there be for the undignified company
Hal keeps and the dishonorable behavior that he practices? His tone is solemn, his language dignified, and
they contrast strongly with the idle, merry-making manner of speech we last heard Hal and his friends using.
And yet there is dignity in Hal’s reply to his father, too.
Like the King, he speaks in blank verse, showing them
to be on the same wavelength at last. He addresses his
father respectfully, beginning. “So please your majesty,”
and asks to be judged on the facts, not the rumors. He
is truly sorry for those faults he has shown, however,
and asks forgiveness for them.
His father expresses his disappointments in him at
length. Hal has been so irresponsible that his younger
brother has had to take his place in the council. He is
never seen at court. Everyone believes he will come to
no good. If Henry had behaved like that when he was
young, he would never have become king. Instead, he
kept his head down and rationed his public appearances so carefully that people thought it a rare treat to
catch sight of him. All this was in marked contrast to
Richard II, the “skipping king” he had replaced. Richard
had made such an exhibition of himself that people were
soon sick of him and refused to take him seriously. Hal
is behaving in the same way as Richard. The only person who hasn’t seen too much of him is his own father,
who weeps at the end of his speech.
Henry’s speech is more than 60 lines long, but Hal
doesn’t interrupt once. (It is hard to imagine Hotspur
acting likewise in similar circumstances. We have,
remember, just seen how impatient he has been with
Owen Glendower.) The Prince listens humbly, and
replies simply: “I shall hereafter, my thrice gracious lord,
/ Be more myself” (emphasizing, of course, that his
appearance has not reflected his reality).
But the King goes on again for over 30 lines, without
interruption. He compares Hal, unfavorably, with Hotspur. Hotspur is more interested in leading the nation
than Hal is, and he is prepared to fight to do so, inspiring older men with his courage and leadership. The King
points out that the two of them are the same age, which
makes the comparison more acute. (Shakespeare
departs from historical truth here. The real-life Hotspur
was not only 23 years older than Hal, but older than the
King himself.) Hotspur is famous for his courage,
“Through all the kingdoms that acknowledge Christ.” He
is, as Henry hyperbolically puts it, a “Mars in swathling
clothes” — that is, like the very god of war himself, and
yet still a mere youngster. After valiantly defeating Douglas, Hotspur set him free, and they are now allies in the
attempt to “shake the peace and safety of our throne.”
(Henry’s use of the royal “we” emphasizes his dignity
and kingship at this point.) The King wonders why he is
telling Hal all this; Hal might be dear to him, but he has
shown himself to be an enemy. He is so “degenerate”
that he will probably join with the rebels against his
father.
Prince Hal’s reply is magnificent. Here, at last, is the
noble character that he promised he would reveal when
he spoke his soliloquy at the end of Act I, Scene 2. Hal’s
response shows dignity and moral purpose, qualities
that will flower later in his own heroic kingship, as Henry
V, whose story Shakespeare had not yet written. During
the present play, these virtues will be seen in his manto-man fight with Hotspur. Hal promises his father that
he will call Hotspur to account. Hal says that he will
“redeem” himself, a term with heavy religious significance, calling to mind the sacrifice by which Christ
saved mankind from sin. The Elizabethan audience
would also have been reminded of the “morality” plays
they would have seen, in which virtues and vices battle
it out. In the battle for Hal’s soul, Good (the call to duty)
has triumphed over Evil (the temptation to debauchery).
Hal makes a solemn vow to call Hotspur to account.
The King instantly accepts that Hal’s reformation is
genuine, and says he will give him the authority he
needs to carry out his promise. He tells his son to march
to Gloucestershire, where their army will assemble in
12 days’ time. Twice in this last speech he addresses the
Prince as “Harry,” which reminds the audience that
there is another side to the character known to his lowlife friends as “Hal.”
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Act III,
Scene 3
Act III, Scene 3
109
Falstaff avoids paying a debt to the Hostess of the tavern, and the Prince
announces that he will make Falstaff an officer in the army.
ACT III, SCENE 3
Eastcheap, the Boar’s-head Tavern.
NOTES
[Enter FALSTAFF and BARDOLPH.]
Falstaff Bardolph, am I not fallen away vilely since
this last action? do I not bate? do I not dwindle?
Why, my skin hangs about me like an old lady’s loose
gown; I am withered like an old apple-john. Well,
I’ll repent, and that suddenly, while I am in some
liking; I shall be out of heart shortly, and then I shall
have no strength to repent. An I have not forgotten
what the inside of a church is made of, I am a peppercorn, a brewer’s horse; the inside of a church! Company, villainous company, hath been the spoil of me.
Bardolph Why, you are so fat, Sir John, that you
must needs be out of all compass, out of all reasonable compass, Sir John.
Falstaff Do thou amend thy face, and I’ll amend
my life: thou art our admiral, thou bearest the lantern in the poop, but ’tis in the nose of thee; thou art
the Knight of the Burning Lamp.
Bardolph Why, Sir John, my face does you no harm.
bate: decrease, fall off, abate.
4.
apple-john: shriveled apple.
7.
An: if.
5
10
Bardolph Sir John, you are so fretful, you cannot
live long.
Falstaff Why, there is it; come sing me a song; make
me merry. I was as virtuously given as a gentleman
need to be; virtuous enough; swore little; diced not
above seven times a week; paid money that I borrowed, three or four times; lived well and in good
compass; and now I live out of all order, out of all
compass.
2.
15
20
25
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Act III, Scene 3
Falstaff No, I’ll be sworn; I make as good use of it
as many a man doth of a Death’s-head or a memento
mori: I never see thy face but I think upon hell-fire
and Dives that lived in purple; for there he is in his
robes, burning, burning. If thou wert any way given
to virtue, I would swear by thy face; my oath should
be ‘By this fire, that’s God’s angel’: but thou art altogether given over, and wert indeed, but for the light
in thy face, the son of utter darkness. When thou
rannest up Gadshill in the night to catch my horse, if
I did not think thou hadst been an ignis fatuus or a
ball of wildfire, there’s no purchase in money. O, thou
art a perpetual triumph, an everlasting bonfirelight!
Thou hast saved me a thousand marks in links and
torches, walking with thee in the night betwixt
tavern and tavern: but the sack that thou hast drunk me
would have bought me lights as good cheap at the
dearest chandler’s in Europe. I have maintained that
salamander of yours with fire any time this two and
thirty years; God reward me for it!
29–30.
memento mori: reminder of death (usually a
skull).
31.
Dives: the wealthy man in the parable of Dives
and Lazarus.
38.
ignis fatuus: fools’ fire or will o’ the wisp; a light
that leads travelers astray in marshes.
41.
links: flares.
45.
chandler’s: candlestick-maker’s.
46.
salamander: person who likes or can stand a
great deal of heat; spirit or other imaginary being
that lives in fire (used humorously).
52.
Dame Partlet: traditional name for hen in fables.
57.
tithe: tenth part.
30
35
40
45
Bardolph ’Sblood, I would my face were in your
stomach!
Falstaff God-a-mercy! so should I be sure to be
heartburned.
50
[Enter Hostess.]
How now, Dame Partlet the hen! have you inquired
yet who picked my pocket?
Hostess Why, Sir John, what do you think, Sir John?
do you think I keep thieves in my house? I have
searched, I have inquired, so has my husband, man
by man, boy by boy, servant by servant: the tithe of a
hair was never lost in my house before.
Falstaff Ye lie, hostess: Bardolph was shaved and
lost many a hair; and I’ll be sworn my pocket was
picked. Go to, you are a woman, go.
Hostess Who, I? no; I defy thee: God’s light, I was
never called so in mine own house before.
Falstaff Go to, I know you well enough.
55
60
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Hostess No, Sir John: you do not know me, Sir John.
I know you, Sir John; you owe me money, Sir John;
and now you pick a quarrel to beguile me of it: I
bought you a dozen shirts to your back.
Falstaff Dowlas, filthy dowlas: I have given them
away to bakers’ wives, and they have made bolters of
them.
Hostess Now, as I am a true woman, holland of eight
shillings an ell. You owe money here besides, Sir
John, for your diet and by-drinkings, and money lent
you, four and twenty pound.
Act III, Scene 3
111
65
70
69.
dowlas: coarse linen.
70.
bolters: sieves for sifting flour from bran.
72.
holland: fine linen.
73.
ell: 45 inches.
80.
denier: smallest English coin (a tenth of a penny).
81.
younker: sucker (colloquial).
86.
neak-cup: sneak-cup, one who steals cups from
taverns.
91.
Newgate: old London prison.
75
Falstaff He had his part of it; let him pay.
Hostess He? alas, he is poor; he hath nothing.
Falstaff How! poor? look upon his face; what call
you rich? let them coin his nose, let them coin his
cheeks: I’ll not pay a denier. What, will you make a
younker of me? shall I not take mine ease in mine
inn but I shall have my pocket picked? I have lost a
sealring of my grandfather’s worth forty mark.
Hostess O Jesu, I have heard the prince tell him, I
know not how oft, that that ring was copper!
80
85
Falstaff How! the prince is a Jack, a neak-cup:
’sblood, an he were here, I would cudgel him like a
dog, if he would say so.
[Enter the PRINCE and PETO, marching, and FALSTAFF
meets them playing on his truncheon like a fife.]
How now, lad! is the wind in that door, i’ faith? must
we all march?
90
Bardolph Yea, two and two, Newgate fashion.
Hostess My lord, I pray you, hear me.
Prince What sayst thou, Mistress Quickly? How
doth thy husband? I love him well; he is an honest
man.
Hostess Good my lord, hear me.
Falstaff Prithee, let her alone, and list to me.
95
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Act III, Scene 3
Prince What sayest thou Jack?
Falstaff The other night I fell asleep here behind
the arras and had my pocket picked.
100
100.
arras: wall-hanging tapestry.
114.
stewed prune: prostitute ( a “stew” was a brothel).
115.
Maid Marian: the woman in Robin Hood’s gang,
usually played by a lumpish man in the morris
dance referred to here.
Prince What didst thou lose, Jack?
Falstaff Wilt thou believe me, Hal? three or four
bonds of forty pound a-piece, and a seal-ring of my
grandfather’s.
Prince A trifle, some eight-penny matter.
105
Hostess So I told him, my lord; and I said I heard
your grace say so: and, my lord, he speaks most vilely
of you, like a foul-mouthed man as he is; and said
that he would cudgel you.
Prince What! he did not?
110
Hostess There’s neither faith, truth, nor womanhood
in me else.
Falstaff There’s no more faith in thee than in a
stewed prune; nor no more truth in thee than in a
drawn fox; and for womanhood, Maid Marian may
be the deputy’s wife of the ward to thee. Go, you
thing, go.
115
Hostess Say, what thing? what thing?
Falstaff What thing! why, a thing to thank God on.
Hostess I am no thing to thank God on, I would
thou shouldst know it; I am an honest man’s wife:
and setting thy knighthood aside, thou art a knave to
call me so.
Prince Thou sayest true, hostess; and he slanders
thee most grossly.
120
125
Hostess So he doth you, my lord; and said this
other day you ought him a thousand pound.
Prince Sirrah, do I owe you a thousand pound?
Falstaff A thousand pound, Hal! a million: thy
love is worth a million: thou owest me thy love.
Hostess Nay, my lord, he called you Jack, and said
he would cudgel you.
130
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Act III, Scene 3
113
Falstaff Did I, Bardolph?
Bardolph Indeed, Sir John, you said so.
Falstaff Yea, if he said my ring was copper.
135
Prince I say ’tis copper: darest thou be as good as
thy word now?
Falstaff Why, Hal, thou know’st, as thou art but
man, I dare; but as thou art prince, I fear thee as
I fear the roaring of the lion’s whelp.
140
Prince And why not as the lion?
Falstaff The king himself is to be feared as the
lion: dost thou think I’ll fear thee as I fear thy
father? nay, an I do, I pray God my girdle break.
Prince O, if it should! But, sirrah, there’s no room
for faith, truth, nor honesty in this bosom of thine.
Charge an honest woman with picking thy pocket!
why, thou impudent, embossed rascal, if there were
anything in thy pocket but tavern-reckonings, and
one poor pennyworth of sugar-candy to make thee
long-winded, if thy pocket were enriched with any
other injuries but these, I am a villain: and yet you
will stand to it; you will not pocket up wrong: art
thou not ashamed?
Falstaff Dost thou hear, Hal? thou knowest in the
state of innocency Adam fell; and what should poor
Jack Falstaff do in the days of villainy? Thou seest
I have more flesh than another man, and therefore
more frailty. You confess then, you picked my pocket?
Prince It appears so by the story.
Falstaff Hostess, I forgive thee; go, make ready
breakfast, love thy husband, look to thy servants,
cherish thy guests: thou shalt find me tractable to
any honest reason: thou seest I am pacified still.
Nay, prithee, begone. [Exit Hostess.] Now, Hal, to
the news at court: for the robbery, lad, how is that
answered?
Prince O, my sweet beef, I must still be good angel
to thee: the money is paid back again.
145
148.
embossed: rounded and pressed out (a reference to
Falstaff’s fatness).
152.
injuries: i.e., the things Falstaff pretends were
stolen.
150
155
160
165
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Act III, Scene 3
Falstaff O, I do not like that paying back; ’tis a
double labour.
170
Prince I am good friends with my father and may
do any thing.
Falstaff Rob me the exchequer the first thing thou
doest, and do it with unwashed hands too.
175
Bardolph Do, my lord.
Prince I have procured thee, Jack, a charge of foot.
Falstaff I would it had been of horse. Where shall
I find one that can steal well? O for a fine thief, of
the age of two and twenty or thereabouts! I am heineously unprovided. Well, God be thanked for these
rebels, they offend none but the virtuous: I laud
them, I praise them.
177.
charge of foot: a company of infantrymen.
191.
temple: one of the Inns of Court where young
men studied law.
180
Prince Bardolph!
Bardolph My lord?
Prince Go bear this letter to Lord John of Lancaster, to my brother John; this to my Lord of Westmoreland. [Exit BARDOLPH.] Go, Peto, to horse, to
horse; for thou and I have thirty miles to ride yet
ere dinner time. [Exit PETO.] Jack, meet me tomorrow in the temple hall at two o’clock in the
afternoon.
There shalt thou know thy charge; and there receive
Money and order for their furniture.
The land is burning; Percy stands on high;
And either we or they must lower lie. [Exit.]
Falstaff Rare words! brave world! Hostess, my
breakfast, come!
O, I could wish this tavern were my drum! [Exit.]
185
190
195
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Act III, Scene 3
115
COMMENTARY
ct III, Scene 3 shifts from verse to prose again,
A
marking a very different mood. We move to the
Boar’s Head Tavern in Eastcheap, where Falstaff is in a
melancholy mood. His depression is not surprising, after
the prank that was so successfully played upon him. Falstaff feels old and worn out. He speaks of repentance,
of turning over a new leaf, but complains that it has
been so long since he has seen the inside of a church
that he has forgotten what it looks like. The language he
uses recalls his obsessions: food and drink. He is “withered like an old apple-john.” If he hasn’t forgotten what
the inside of a church is made of, he is “ a pepper-corn,
a brewer’s horse.” Once more, the religious language
and references recall the moral significance of Falstaff’s
actions.
This scene is in marked contrast to the actual repentance that Hal has shown in the previous scene. The
Prince is suddenly purposeful; Falstaff, incapable and
unwilling to make any effort to change his character.
Shakespeare intends to convey these facts clearly, by
putting the scenes together like this.
Bardolph insults Falstaff for his fatness; Falstaff
likens Bardolph’s drink-sozzled nose to a red ship’s
lantern, in an increasingly fantastic and comic speech,
in which Falstaff seems to distract himself from his misery by his increasingly absurd descriptions of Bardolph’s face.
The Hostess enters, and Falstaff asks whether she
has found out who picked his pocket while he was
asleep. Her reply is another example of dramatic irony:
“Why, Sir John, do you think I keep thieves in my
house?” The audience knows very well that she certainly has a number of them as customers at least. Falstaff picks a quarrel with her, distracting her from the
fact that he owes her money. He claims to have been
robbed of a valuable signet ring, a family heirloom (dramatic irony again, because the audience knows that
nothing more was taken than a few scraps of paper).
The Prince and Peto now enter, and the Hostess
appeals to Hal for support, which he gives her. Falstaff
insults her by using language that suggests she is a
prostitute, and she repeats to Hal some of the insults
Falstaff has also leveled against him. Hal admits that he
himself picked Falstaff’s pocket, which is why he knows
that Falstaff is lying about what was in it. Quick-witted
as ever, Falstaff “forgives” the Hostess, who leaves,
forgetting that she hasn’t yet collected the money he
owes her.
Hal tells Falstaff that he has paid back the stolen
money. He has also arranged for Falstaff to become an
officer in the army. The Prince suddenly becomes very
business-like and determined, issuing orders to Bardolph and Peto and telling Falstaff to meet him the next
day.
The scene has a kind of double-ending. Shakespeare
frequently ends scenes with a rhymed couplet, but here
there are two. The Prince speaks one grandly and
solemnly, before he exits. Falstaff lingers to offer a couplet of his own, calling for his breakfast and lamenting
the reality of war. The contrast between the two of them
is inescapable.
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Notes
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CLIFFSCOMPLETE
ACT IV
Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Vernon I saw young Harry, with his beaver on,
His cuisses on his thighs, gallantly arm’d,
Rise from the ground like feather’d Mercury,
And vaulted with such ease into his seat,
As if an angel dropp’d down from the clouds,
To turn and wind a fiery Pegasus
And witch the world with noble horsemanship.
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Act IV,
Scene 1
Act IV, Scene 1
119
Hotspur learns that he will have to face the upcoming battle without
many of the troops he had hoped for. Vernon describes the impressive
appearance of Prince Hal at the head of the King’s army.
ACT IV, SCENE 1
The rebel camp near Shrewsbury.
NOTES
[Enter HOTSPUR, WORCESTER, and DOUGLAS.]
Hotspur Well said, my noble Scot: if speaking truth
In this fine age were not thought flattery,
Such attribution should the Douglas have,
As not a soldier of this season’s stamp
Should go so general current through the world.
By God, I cannot flatter; I do defy
The tongues of soothers; but a braver place
In my heart’s love hath no man than yourself:
Nay, task me to my word; approve me, lord.
Douglas Thou art the king of honour:
No man so potent breathes upon the ground
But I will beard him.
3.
4–5.
5
attribution: acclaim.
stamp . . . current: the image is of current coins, the
stamp being the picture of a soldier on them.
7.
soothers: flatterers.
9.
task me: test or try me.
10
12.
beard: challenge.
Messenger These letters come from your father.
14.
father: the Earl of Northumberland.
Hotspur Letters from him! why comes he not
himself?
17.
‘Zounds!: by God’s (Christ’s) wounds.
18.
justling: full of clashes (like a joust).
Hotspur
Do so, and ’tis well.
[Enter a Messenger with letters.]
What letters hast thou there? — I can but thank you.
15
Messenger He cannot come, my lord; he is grievous
sick.
Hotspur ’Zounds! how has he the leisure to be sick?
In such a justling time? Who leads his power?
Under whose government come they along?
Messenger His letters bear his mind, not I, my
lord.
Worcester I prithee, tell me, doth he keep his bed?
power: army.
20
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Act IV, Scene 1
Messenger He did, my lord, four days ere I set
forth;
And at the time of my departure thence
He was much fear’d by his physicians.
Worcester I would the state of time had first been
whole
Ere he by sickness had been visited:
His health was never better worth than now.
Hotspur Sick now! droop now! this sickness doth
infect
The very life-blood of our enterprise;
’Tis catching hither, even to our camp.
He writes me here, that inward sickness —
And that his friends by deputation could not
So soon be drawn, nor did he think it meet
To lay so dangerous and dear a trust
On any soul removed but on his own
Yet doth he give us bold advertisement,
That with our small conjunction we should on,
To see how fortune is disposed to us;
For, as he writes, there is no quailing now,
Because the king is certainly possess’d
Of all our purposes. What say you to it?
25
Douglas
’Faith, and so we should;
Where now remains a sweet reversion:
We may boldly spend upon the hope of what
Is to come in:
A comfort of retirement lives in this.
He was: his life was feared (of).
25.
whole: the rebellion had been wholly completed.
33.
meet: appropriate.
36.
advertisement: advice, counsel (stress falls on the
second syllable).
39.
quailing: cowardly giving up.
40.
possess’d of all our purposes: knows all our
plans.
42.
maim: crippling disfiguring wound.
47.
main: prize or reward.
48.
nice hazard: delicate risk.
30
35
40
Worcester Your father’s sickness is a maim to us.
Hotspur A perilous gash, a very limb lopp’d off
And yet, in faith, it is not; his present want
Seems more than we shall find it: were it good
To set the exact wealth of all our states
All at one cast? to set so rich a main
On the nice hazard of one doubtful hour?
It were not good; for therein should we read
The very bottom and the soul of hope,
The very list, the very utmost bound
Of all our fortunes.
24.
45
one doubtful hour: the actual battle.
50
51.
list: boundary.
bound: border.
54.
reversion: expected inheritance.
56.
retirement: retreat.
55
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Act IV, Scene 1
Hotspur A rendezvous, a home to fly unto,
If that the devil and mischance look big
Upon our affairs.
Worcester But yet I would your father had been
here.
The quality and hair of our attempt
Brooks no division: it will be thought
By some that know not why he is away,
That wisdom, loyalty and mere dislike
Of our proceedings kept the earl from hence
And think how such an apprehension
May turn the tide of fearless faction
And breed a kind of question in our cause;
For well you know we of the offering side
Must keep aloof from strict arbitrement,
And stop all sight-holes, every loop from whence
The eye of reason may pry in upon us:
This absence of your father’s draws a curtain,
That shows the ignorant a kind of fear
Before not dreamt of.
Hotspur
You strain too far.
I rather of his absence make this use:
It lends a lustre and more great opinion,
A larger dare to our great enterprise,
Than if the earl were here; for men must think,
If we without his help can make a head
To push against a kingdom, with his help
We shall o’erturn it topsy-turvy down.
Yet all goes well, yet all our joints are whole.
Douglas As heart can think: there is not such a word
Spoke of in Scotland as this term of fear.
60
hair: i.e., nature.
62.
Brooks: tolerates.
69.
offering: challenging.
70.
arbitrement: judgment.
71.
loop: loophole.
78.
larger dare: bigger challenge.
80.
make a head: raise an army.
83.
joints: limbs.
65
70
75
80
85
[Enter SIR RICHARD VERNON.]
Hotspur My cousin Vernon! welcome, by my soul.
Vernon Pray God my news be worth a welcome,
lord.
The Earl of Westmoreland, seven thousand strong,
Is marching hitherwards; with him Prince John.
Hotspur No harm: what more?
61.
90
121
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Act IV, Scene 1
Vernon
And further, I have learn’d
The king himself in person is set forth,
Or hitherwards intended speedily,
With strong and mighty preparation.
Hotspur He shall be welcome too. Where is his son,
The nimble-footed, madcap Prince of Wales,
And his comrades, that daff ’d the world aside,
And bid it pass?
Vernon
All furnish’d, all in arms;
All plumed like estridges that wing the wind,
Bated like eagles having lately bathed;
Glittering in golden coats, like images;
As full of spirit as the month of May,
And gorgeous as the sun at midsummer;
Sportive as youthful goats, wild as young bulls.
I saw young Harry, with his beaver on,
His cuisses on his thighs, gallantly arm’d,
Rise from the ground like feather’d Mercury,
And vaulted with such ease into his seat,
As if an angel dropp’d down from the clouds,
To turn and wind a fiery Pegasus
And witch the world with noble horsemanship.
Hotspur No more, no more: worse than the sun in
March,
This praise doth nourish agues. Let them come;
They come like sacrifices in their trim,
And to the fire-eyed maid of smoky war
All hot and bleeding will we offer them:
The mailed Mars shall on his altar sit
Up to the ears in blood. I am on fire
To hear this rich reprisal is so nigh
And yet not ours. Come, let me taste my horse,
Who is to bear me like a thunderbolt
Against the bosom of the Prince of Wales:
Harry to Harry shall, hot horse to horse,
Meet and ne’er part till one drop down a corse.
O that Glendower were come!
Vernon
There is more news:
I learn’d in Worcester, as I rode along,
He cannot draw his power this fourteen days.
95
98.
estridges: ostriches.
104.
beaver: face-guard of a helmet.
105.
cuisses: thigh-shields or plates.
106.
Mercury: messenger of the Roman gods (usually
depicted with winged hat and heels).
109.
wind: turn.
100
105
110
Pegasus: the winged horse of classical
mythology.
110.
witch: bewitch or enchant.
112.
agues: fevers.
116.
mailed: in (chain-mail) armor.
115
Mars: god of war.
118.
reprisal: prize, booty.
119.
taste: test.
122.
corse: corpse.
126.
draw his power: muster his soldiers.
120
125
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Act IV, Scene 1
123
Douglas That’s the worse tidings that I hear of yet.
Worcester Ay, by my faith, that bears a frosty sound.
Hotspur What may the king’s whole battle reach
unto?
Vernon To thirty thousand.
battle: army.
132.
serve: be sufficient for.
133.
muster: roll-call, parade.
130
Hotspur
Forty let it be:
My father and Glendower being both away,
The power of us may serve so great a day.
Come, let us take a muster speedily:
Doomsday is near; die all, die merrily.
Douglas Talk not of dying: I am out of fear
Of death or death’s hand for this one half-year.
129.
135
[Exeunt.]
COMMENTARY
he sudden seriousness of the last part of the last
T
scene is picked up immediately in Act IV, Scene 1.
The setting is the rebel camp; the pace is heating up.
Hotspur, Worcester, and Douglas enter, and the play
picks up their conversation at the point at which Hotspur is praising the Earl of Douglas to his face, compliments that Douglas returns. Hotspur and the Douglas
are like each other in their youthful impetuosity and high
sense of honor.
A messenger enters, bearing the news that Hotspur’s
father, Northumberland, is sick and cannot join them.
Hotspur, characteristically, flares up in a curse and a
condemnation: “‘Zounds! How has he the leisure to be
sick?” Worcester more wisely asks for more detail
before coming to a judgment: “I prithee, tell me, doth he
keep his bed?” Indeed, Northumberland really is ill; his
doctors fear for his life. Significantly, the rebel father
and son will not be together in the battle, which is the
climax of the play. The royal father and son, however,
will be fighting side by side.
Hotspur reads the letter Northumberland has sent
with the messenger, and it advises them to carry on
without him. The King must know of their plans by now,
and it is too late to go back.
Even though this is terrible news for the rebels, Hotspur talks it up by seeing it as, in one sense, a blessing
in disguise, in that not all their forces will be destroyed
if they are unlucky enough to suffer defeat. Douglas
agrees with him: “A comfort of retirement lives in this.”
Worcester, however, wiser and older, points out that
Northumberland’s absence will be taken by some as evidence of division amongst the rebels. They will think
that he didn’t turn up because he didn’t want to.
Hotspur’s mind is made up, however, and he tells
Worcester “You strain too far.” There is another sense
in which his father’s absence is of benefit: It makes their
attempt to overthrow the king a “larger dare,” and if they
win this battle with much reduced forces, people will
have more confidence in supporting them thereafter.
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Act IV, Scene 1
dozen or so lines, Vernon
paints a glorious picture of the
Prince in a catalog of similes
drawing up superlative
images from nature and
supernature. Hal and his comrades are plumed like
ostriches, winged like eagles,
gorgeous as midsummer sunshine, and as full of life as the
month of May.
They are as frisky as goats,
as wild as young bulls, and in
their shining surcoats they
look like the gilded statues of
saints. The Prince himself is
like Mercury, and like an
angel; he leaps unaided onto a
horse that is like the mythical
creature Pegasus.
Mercury, winged messenger of the gods.
Musee de Louvre, Paris/SuperStock
Shakespeare gives a strong sense here that Hotspur
is attempting to provide himself, and the others, with
reasons for a course of action he has already decided
on, rather than genuinely thinking it through. Douglas
agrees with him: He and the Scots have no use for the
word “fear.”
Sir Richard Vernon arrives, bringing the news that
Westmoreland and Prince John are on their way, with
an army of seven thousand; the King and his army are
coming, too. Hotspur takes this news on the chin, and
asks scornfully after the “madcap Prince of Wales.”
Vernon’s reply brings the rapid pace of the scene to
a reflective halt. He describes the figure that Prince Hal
cuts in terms of extraordinary poetic intensity. For a
All this is too much for Hotspur: “No more, no more,” he
cries. Instead of being rattled
by this description (as the
audience must surely think he
should be), it makes him all the
more impatient — “on fire” —
to have to wait to beat King
Henry and his son in battle. He
is resolved to meet his enemy
“Harry to Harry,” a phrase that
emphasizes the way that Shakespeare has chosen to
contrast the two characters.
The scene closes with yet more bad news. Vernon
adds that he has heard that Owen Glendower can’t get
his troops together for another fortnight, so he too will
miss the battle. Hotspur then asks how many men there
are in the King’s army: thirty thousand, he is told. Even
if it were forty thousand, says Hotspur, we would still
win. Only then does Hotspur order his own troops to be
counted. Once again, he has spoken first, and thought
afterwards. He and Douglas close the scene by
expressing their fearless enthusiasm for the fight that
is to come; but the audience now knows that the odds
are stacked against them.
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Act IV, Scene 1
A coat of arms.
125
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Act IV, Scene 2
Act IV,
Scene 2
Falstaff explains how his dishonest recruiting policy has left him with a
troop of men who will be no good in a fight.
ACT IV, SCENE 2
A public road near Coventry.
NOTES
[Enter FALSTAFF and BARDOLPH.]
Falstaff Bardolph, get thee before to Coventry; fill
me a bottle of sack: our soldiers shall march through;
we’ll to Sutton Co’fil’ tonight.
1.
get thee before: go on ahead.
3.
Sutton Co’ fil’: Sutton Coldfield (place).
5.
Lay out: spend your money.
6.
angel: gold coin.
Bardolph Will you give me money, captain?
Falstaff Lay out, lay out.
5
Bardolph This bottle makes an angel.
Falstaff An if it do, take if for thy labour; and if it
make twenty, take them all, I’ll answer the coinage.
Bid my lieutenant Peto meet me at town’s end.
Bardolph I will, captain: farewell. [Exit.]
Falstaff If I be not ashamed of my soldiers, I am a
soused gurnet. I have misused the king’s press damnably. I have got, in exchange of a hundred and fifty
soldiers, three hundred and odd pounds. I press me
none but good householders, yeomen’s sons; inquire
me out contracted bachelors, such as had been asked
twice on the banns; such a commodity of warm slaves,
as had as lieve hear the devil as a drum; such as fear
the report of a caliver worse that a struck fowl or a
hurt wild-duck. I pressed me none but such toastsand-butter, with hearts in their bodies no bigger than
pins’ heads, and they have bought out their services;
and now my whole charge consists of ancients, corporals, lieutenants, gentlemen of companies, slaves
as ragged as Lazarus in the painted cloth, where the
glutton’s dogs licked his sores; and such as indeed
were never soldiers, but discarded unjust servingmen, younger sons to younger brothers, revolted
tapsters and ostlers trade-fallen, the cankers of a calm
10
12.
soused gurnet: pickled fish.
king’s press: power to conscript in the king’s
name.
15
20
25
16.
contracted bachelors: young men who are
engaged to be married.
17.
warm: i.e., comfort-loving.
18.
lieve: gladly.
19.
caliver: light kind of musket.
20.
toasts-and-butter: self-indulgent men.
22.
bought out their services: purchased their release
from conscription.
23.
ancients: a rank in the army under lieutenant; a
standard-bearer.
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world and a long peace, ten times more dishonourable
ragged than an old faced ancient: and such have I,
to fill up the rooms of them that have bought out
their services, that you would think that I had a hundred and fifty tattered prodigals lately come from
swine-keeping, from eating draff and husks. A mad
fellow met me on the way and told me I had unloaded
all the gibbets and pressed the dead bodies. No eye
hath seen such scarecrows. I’ll not march through
Coventry with them, that’s flat: nay, and the villains
march wide betwixt the legs, as if they had gyves on;
for indeed I had the most of them out of prison.
There’s but a shirt and a half in all my company;
and the half shirt is two napkins tacked together and
thrown over the shoulders like an herald’s coat without sleeves; and the shirt, to say the truth, stolen
from my host at St. Alban’s, or the red-nose innkeeper of Daventry. But that’s all one; they’ll find
linen enough on every hedge.
Act IV, Scene 2
30
35
35.
draff: swill.
37.
gibbets: gallows.
pressed: conscripted.
40
40.
gyves: fetters, shackles.
42.
but a: only one.
48.
linen: shirts that are placed on hedges to dry after
having been washed.
49.
quilt: padded coat (humorously applied to a fat
person).
65.
toss: i.e., on the end of a pike.
65–66.
food for powder: food for gunpowder;
“canon-fodder.”
45
[Enter the PRINCE and WESTMORELAND.]
Prince How now, blown Jack! how now, quilt!
Falstaff What, Hal! how now, mad wag! what a
Devil dost thou in Warwickshire? My good Lord of
Westmoreland, I cry you mercy: I thought your honour had already been at Shrewsbury.
Westmoreland Faith, Sir John, ’tis more than time
that I were there, and you too; but my powers are
there already. The king, I can tell you, looks for us
all: we must away all night.
50
55
Falstaff Tut, never fear me: I am as vigilant as a
cat to steal cream.
Prince I think, to steal cream indeed, for thy theft
hath already made thee butter. But tell me, Jack,
whose fellows are these that come after?
60
Falstaff Mine, Hal, mine.
Prince I did never see such pitiful rascals
Falstaff Tut, tut; good enough to toss; food for
powder, food for powder; they’ll fill a pit as well as
better: tush man, mortal men, mortal men
127
65
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Act IV, Scene 2
Westmoreland Ay, but, Sir John, methinks they are
exceeding poor and bare, too beggarly.
Falstaff ’Faith, for their poverty, I know not where
they had that; and for their bareness, I am sure they
never learned that of me.
Prince No, I’ll be sworn; unless you call three fingers on the ribs bare. But, sirrah, make haste: Percy
is already in the field.
70
75
Falstaff What, is the king encamped?
Westmoreland He is, Sir John: I fear we shall stay
too long.
Falstaff Well,
To the latter end of a fray and the beginning of a
feast
Fits a dull fighter and keen guest. [Exeunt.]
80
COMMENTARY
ct IV, Scene 2 shifts the action back to the low-life
A
characters — and back to prose. Falstaff and his
companions are now in the King’s army, but even though
they are in uniform, their talk is not of war, but of drink.
Falstaff, who has been made a captain by Prince Hal,
sends Bardolph ahead to Coventry to get him a bottle of
sack. When he has gone, Falstaff soliloquizes (in prose)
on how he has used his commission to make money. He
has purposely conscripted men whom he knew would
have good reason to want to buy their way out, and he
has made over three hundred pounds in so doing.
(Establishing a modern value for such a figure is impossible, but it is a very large amount of money, indeed.)
Having allowed the best men to pay to escape conscription, Falstaff is left with a collection of rogues,
tramps, and misfits that a passerby said looked like an
army of men cut down from the gibbets where executed
criminals were displayed. They haven’t even clothes for
their backs; they’ll have to steal washing laid out to dry
as they make their way to battle.
Falstaff is surprised by the arrival of Prince Hal, who
tells him that he “never did see such pitiful rascals.” Falstaff says, with astonishing cynicism, that they are good
enough for cannon fodder and will fill a grave as well as
their betters would; but the conversation is cut short by
Prince Hal’s need for haste. The time for the battle is
getting very close.
Falstaff’s contempt for the men he has recruited is
expressed in his characteristically comically exaggerated language, but our laughter rings hollow as we realize that he is speaking of matters of life and death. The
couplet with which Falstaff closes the scene picks up
the Prince’s reference to food, the likes of which follow
Sir John throughout the play. He is looking forward to
the end of the battle so that he can enjoy the victory
feast that will follow it.
The vitality and energy that characterize Falstaff’s
speech continue to impress us, but they are qualities
that seem increasingly at odds with the moral seriousness of the circumstances in which he now finds himself. It is as if Shakespeare is encouraging us to qualify
our admiration for him at this point, and to think of him
as a rounded character (in more than one sense!) as the
play moves to its conclusion. Life, even for great characters like Sir John Falstaff, is not always simple.
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Act IV,
Scene 3
Act IV, Scene 3
129
The rebels argue about whether to attack now or later. The King sends a
messenger to offer a chance to talk of peace. Hotspur says he will send
his answer with Worcester in the morning.
ACT IV, SCENE 3
The rebel camp near Shrewsbury.
NOTES
[Enter HOTSPUR, WORCESTER, DOUGLAS, and
VERNON.]
Hotspur We’ll fight with him to-night.
Worcester
It may not be.
Douglas You give him then advantage.
Vernon
Not a whit.
Hotspur Why say you so? looks he not for supply?
3.
Vernon So do we.
Hotspur
His is certain, ours is doubtful.
Worcester Good cousin, be advised; stir not to-night.
5
Vernon Do not, my lord.
Douglas
You do not counsel well:
You speak it out of fear and cold heart.
Vernon Do me no slander, Douglas: by my life,
And I dare well maintain it with my life,
If well-respected honour bid me on,
I hold as little counsel with weak fear
As you, my lord, or any Scot that this day lives:
Let it be seen to-morrow in the battle
Which of us fears.
Douglas
10
Yea, or to-night.
Vernon
Content.
Hotspur To-night, say I.
Vernon Come, come, it may not be. I wonder much
Being men of such great leading as you are,
That you forsee not what impediments
Drag back our expedition: certain horse
15
supply: supplies of horses, equipment, food, and
men.
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Act IV, Scene 3
Of my cousin Vernon’s are not yet come up:
Your uncle Worcester’s horse came but to-day;
And now their pride and mettle is asleep,
Their courage with hard labour tame and dull,
That not a horse is half the half of himself.
Hotspur So are the horses of the enemy
In general, journey-bated and brought low:
The better part of ours are full of rest.
20
22.
mettle: spirit.
26.
journey-bated: tired out from traveling.
33.
determination: persuasion or beliefs.
36.
quality: side.
40.
anointed majesty: reference to the sacred ritual
of coronation and the divine right of duly anointed
monarchs.
42.
whereupon: on what grounds, why.
43.
conjure: evoke.
46.
forgot: forgotten.
25
Worcester The number of the king exceedeth ours:
For God’s sake, cousin, stay till all come in.
[The trumpet sounds a parley.]
[Enter SIR WALTER BLUNT.]
Blunt I come with gracious offers from the king
If you vouchsafe me hearing and respect.
Hotspur Welcome, Sir Walter Blunt; and would to
God
You were of our determination!
Some of us love you well; and even those some
Envy your great deservings and good name,
Because you are not of our quality,
But stand against us like an enemy.
Blunt And God defend but still I should stand so,
So long as out of limit and true rule
You stand against anointed majesty.
But to my charge. The king hath sent to know
The nature of your griefs, and whereupon
You conjure from the breast of civil peace
Such bold hostility, teaching his duteous land
Audacious cruelty. If that the king
Have any way your good deserts forgot,
Which he confesseth to be manifold,
He bids you name your griefs; and with all speed
You shall have your desires with interest
And pardon absolute for yourself and these
Herein misled by your suggestion.
Hotspur The king is kind; and well we know the
king
Knows at what time to promise, when to pay.
30
35
40
45
50
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My father and my uncle and myself
Did give him that same royalty he wears;
And when he was not six and twenty strong,
Sick in the world’s regard, wretched and low,
A poor unminded outlaw sneaking home,
My father gave him welcome to the shore;
And when he heard him swear and vow to God
He came but to be Duke of Lancaster,
To sue his livery and beg his peace,
With tears of innocency and terms of zeal,
My father, in kind heart and pity moved,
Swore him assistance and perform’d it too.
Now when the lords and barons of the realm
Perceived Northumberland did lean to him,
The more and less came in with cap and knee;
Met him in boroughs, cities, villages,
Attended him on bridges, stood in lanes,
Laid gifts before him, proffer’d him their oaths,
Gave him their heirs as pages, follow’d him
Even at the heels in golden multitudes.
He presently, as greatness knows itself,
Steps me a little higher than his vow
Made to my father, while his blood was poor,
Upon the naked shore at Ravenspurgh;
And now, forsooth, takes on him to reform
Some certain edicts and some strait decrees
That lie too heavy on the commonwealth,
Cries out upon abuses, seems to weep
Over his country’s wrongs; and by this face,
This seeming brow of justice, did he win
The hearts of all that he did angle for;
Proceeded further; cut me off the heads
Of all the favourites that the absent king
In deputation left behind him here,
When he was personal in the Irish war.
Act IV, Scene 3
54.
father: Earl of Northumberland.
uncle: Earl of Worcester.
55
myself: Harry Percy (Hotspur).
55.
him: Henry Bolingbroke, then Duke of Lancaster.
62.
sue his livery: sue (in court) for his right to the
Dukedom.
67.
lean to him: incline to his cause.
76.
blood was poor: was not royal.
79.
strait: strict.
84.
angle: fish (for).
88.
was personal in: attended in person.
92.
in the neck of: straight after.
60
65
70
75
80
85
Blunt Tut, I came not to hear this.
Hotspur
Then to the point.
In short time after, he deposed the king;
Soon after that, deprived him of his life;
And in the neck of that, task’d the whole state
To make that worse, suffered his kinsman March,
131
90
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Act IV, Scene 3
Who is, if every owner were well placed,
Indeed his king, to be engaged in Wales,
There without ransom to lie forfeited;
Disgraced me in my happy victories,
Sought to entrap me by intelligence;
Rated mine uncle from the council-board;
In rage dismissed my father from the court;
Broke oath on oath, committed wrong on wrong,
And in conclusion drove us to seek out
This head of safety; and withal to pry
Into his title, the which we find
Too indirect for long continuance.
95
99.
Rated: berated, drove out.
council-board: Council of State.
100
103.
head of safety: self-defensive army.
withal: additionally.
105
104.
title: claim to the throne based on line of descent.
108.
impawn’d: pledged.
111.
purposes: proposals.
Blunt Shall I return this answer to the king?
Hotspur Not so, Sir Walter: we’ll withdraw awhile.
Go to the king; and let there be impawn’d
Some surety for a safe return again,
And in the morning early shall my uncle
Bring him our purposes; and so farewell.
110
Blunt I would you would accept of grace and love.
Hotspur And may be so we shall.
Blunt
Pray God you do. [Exeunt.]
COMMENTARY
ct IV, Scene 3 takes place once more with the
A
rebels, and Hotspur begins the scene with a decision: “We’ll fight with him tonight.” Again, the decision
comes before the discussion. Hotspur is as impetuous
as ever. Vernon and Worcester are against it: The army
is not ready to fight. Douglas, as eager for battle and for
glory as Hotspur, dismisses their advice as cowardice.
Vernon and Worcester list the reasons for delay: Some
of their troops haven’t yet arrived; many of those who
have are exhausted; in any case, they are outnumbered.
The argument, which does not bode well for the
rebels’ success in the coming battle, is interrupted by a
trumpet-call to a parley. Sir Walter Blunt, the King’s
messenger, arrives. The King has asked the rebels to tell
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him of their grievances. If they are his fault, which he
confesses they might well be, he promises to make
amends and give them and their followers full pardons.
Hotspur will have none of it. Promises are one thing;
carrying them out, another. He recounts what has driven
them to rebellion. The Percy clan stood by Bolingbroke
when he returned from exile, but he then wheedled his
way into people’s good opinions, got rid of the supporters of King Richard II while he was away fighting in Ireland, and had Richard deposed and murdered.
Moreover, Bolingbroke refused to ransom Mortimer, dishonored and spied on Hotspur, sacked his uncle from
the council, dismissed his father from court, and broke
promise after promise. All this forced them to form an
Act IV, Scene 3
133
army to stand up for themselves. Moreover, they believe
that King Henry has a poor claim to the throne. The climax of Hotspur’s complaint is a rhetorically shaped sentence some 15 lines long, which would seem to bring
him to the point of sending Blunt back with a resounding “no” to the King’s offer; and yet, most uncharacteristically, Hotspur asks for time (that night) to consider it.
It is as if Hotspur sees himself at the very brink of the
conflict that he has been so purposefully seeking, and
he feels he must, just this once, pause for thought, and
take a breath before charging into battle. By making him
do this, Shakespeare skillfully maintains the tension that
will be unleashed when the fighting begins.
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Act IV, Scene 4
Act IV,
Scene 4
The Archbishop of York sends letters preparing for the possibility that his
fellow rebels will lose the battle.
ACT IV, SCENE 4
York, the Archbishop’s palace.
NOTES
[Enter the ARCHBISHOP OF YORK and SIR MICHAEL.]
Archbishop Hie, good Sir Michael; bear this sealed
brief
With winged haste to the lord marshal;
This to my cousin Scroop, and all the rest
To whom they are directed. If you knew
How much they do import, you would make haste.
1.
brief: letter.
10
15
20
Sir Michael Why, my good lord, you need not fear;
There is Douglas and Lord Mortimer.
Archbishop No, Mortimer is not there.
Sir Michael But there is Mordake, Vernon, Lord
Harry Percy
And there is my Lord of Worcester and a head
Of gallant warriors, noble gentlemen.
2.
lord marshal: the earl marshal of England, the
Duke of Norfolk.
7.
tenour: import.
5
Sir Michael My good lord,
I guess their tenour.
Archbishop
Like enough you do
To-morrow, good Sir Michael, is a day
Wherein the fortune of ten thousand men
Must bide the touch; for, sir, at Shrewsbury,
As I am truly given to understand,
The king with mighty and quick-raised power
Meets with Lord Harry: and, I fear, Sir Michael,
What with the sickness of Northumberland,
Whose power was in the first proportion,
And what with Owen Glendower’s absence thence,
Who with them was a rated sinew too
And comes not in, o’er-ruled by prophecies,
I fear the power of Percy is too weak
To wage an instant trial with the king.
Hie: hasten.
25
10.
bide the touch: be tested.
12.
power: army.
15.
in the first proportion: i.e., the largest.
17.
rated sinew: esteemed source of strength.
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Archbishop And so there is: but yet the king hath
drawn
The special head of all the land together:
The Prince of Wales, Lord John of Lancaster,
The noble Westmoreland and warlike Blunt;
And many moe corrivals and dear men
Of estimation and command in arms.
Act IV, Scene 4
28.
special head: elite force.
31.
moe corrivals: more fellows-at-arms.
30
Sir Michael Doubt not, my lord, they shall be well
opposed.
Archbishop I hope no less, yet needful ’tis to fear;
And, to prevent the worst, Sir Michael, speed:
For if Lord Percy thrive not, ere the king
Dismiss his power, he means to visit us,
For he hath heard of our confederacy,
And ’tis but wisdom to make strong against him:
Therefore make haste. I must go write again
To other friends; and so farewell, Sir Michael.
35
40
[Exeunt.]
COMMENTARY
his scene is very often cut when the play is perT
formed, because it does little more than underline
facts that the audience already knows, emphasizing the
odds that the rebels will shortly face in battle. The scene
does, however, remind us of the involvement of the
Archbishop of York in the plot, and provides a link to the
events of Shakespeare’s next play in the sequence, King
Henry IV, Part 2.
The Archbishop orders Sir Michael to take messages
to various rebel sympathizers, so that if the battle is lost,
they will be prepared for the consequences. He is sure
that the King knows of his complicity: “he hath heard of
our confederacy.” The Archbishop’s anxiety contributes
to the tension as they are on the very brink of the battle, and it underlines the fact that those rebels who will
actually take part in the fighting are underdogs, which
inevitably engages at least a little of our sympathy.
Archbishop’s mitre.
Musee de Louvre, Paris/SuperStock
135
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Notes
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CLIFFSCOMPLETE
ACT V
Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Scene 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
King Rebellion in this land shall lose his sway,
Meeting the check of such another day:
And since this business so fair is done,
Let us not leave till all our own be won.
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Act V,
Scene 1
Act V, Scene 1
139
Worcester and Vernon go to the King for a last parley before the battle.
The King asks them to carry an offer of peace to Hotspur and his army if
they will accept his authority. Falstaff speaks scornfully of the idea of
honor.
ACT V, SCENE 1
The King’s camp near Shrewsbury.
NOTES
[Enter the KING, PRINCE OF WALES, LORD JOHN OF
LANCASTER, EARL OF WESTMORELAND, SIR
WALTER BLUNT, and FALSTAFF.]
King How bloodily the sun begins to peer
Above yon husky hill! the day looks pale
At his distemperature.
Prince
The southern wind
Doth play the trumpet to his purposes,
And by his hollow whistling in the leaves
Foretells a tempest and a blustering day.
2.
husky: bushy.
3.
distemperature: sickness.
5
King Then with the losers let it sympathise,
For nothing can seem foul to those that win.
[The trumpet sounds.]
[Enter WORCESTER and VERNON.]
How now, my lord of Worcester! ’tis not well
That you and I should meet upon such terms
As now we meet. You have deceived our trust
And made us doff our easy robes of peace,
To crush our old limbs in ungentle steel:
This is not well, my lord, this is not well.
What say you to it? Will you again unknit
This churlish knot of all-abhorred war?
And move in that obedient orb again
Where you did give a fair and natural light,
And be no more an exhaled meteor,
A prodigy of fear and a portent
Of broached mischief to the unborn times?
Worcester Hear me, my liege:
For mine own part, I could be well content
To entertain the lag-end of my life
10.
such terms: as representatives of opposing forces.
12.
doff: discard or take off.
13.
ungentle steel: uncomfortable armor.
15
15.
unknit: unravel or take to pieces.
20
20.
prodigy of fear: evil omen.
10
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Act V, Scene 1
With quiet hours; for I do protest,
I have not sought the day of this dislike.
25
King You have not sought it! how comes it, then?
Falstaff Rebellion lay in his way, and he found it.
Prince Peace, chewet, peace!
Worcester It pleased your majesty to turn your
looks
Of favour from myself and all our house;
And yet I must remember you, my lord,
We were the first and dearest of your friends.
For you my staff of office did I break
In Richard’s time; and posted day and night
To meet you on the way, and kiss your hand,
When yet you were in place and in account
Nothing so strong and fortunate as I.
It was myself, my brother and his son,
That brought you home and boldly did outdare
The dangers of the time. You swore to us,
And you did swear that oath at Doncaster,
That you did nothing purpose ’gainst the state;
Nor claim no further than your new-fall’n right,
The seat of Gaunt, dukedom of Lancaster;
To this we swore our aid. But in short space
It rain’d down fortune showering on your head;
And such a flood of greatness fell on you
What with our help, what with the absent king,
What with the injuries of a wanton time,
The seeming sufferances that you had borne,
And the contrarious winds that held the king
So long in his unlucky Irish wars
That all in England did repute him dead:
And from this swarm of fair advantages
You took occasion to be quickly woo’d
To gripe the general sway into your hand;
Forgot your oath to us at Doncaster;
And being fed by us you used us so
As that ungentle gull, the cuckoo’s bird
Useth the sparrow; did oppress our nest;
Grew by our feeding to so great a bulk
That even our love durst not come near your sight
29.
chewet: chatterer.
32.
remember: remind.
35.
posted: rode post-haste.
30
35
40
45
50
55
60
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For fear of swallowing; but with nimble wing
We were enforced, for safety sake, to fly
Out of your sight and raise this present head
Whereby we stand opposed by such means
As you yourself have forged against yourself
By unkind usage, dangerous countenance,
And violation of all faith and troth
Sworn to us in your younger enterprise.
King These things indeed you have articulate,
Proclaim’d at market-crosses, read in churches,
To face the garment of rebellion
With some fine colour that may please the eye
Of fickle changelings and poor discontents,
Which gape and rub the elbow at the news
Of hurlyburly innovation:
And never yet did insurrection want
Such water-colours to impaint his cause;
Nor moody beggars, starving for a time
Of pellmell havoc and confusion.
Prince In both your armies there is many a soul
Shall pay full dearly for this encounter,
If once they join in trial. Tell your nephew,
The Prince of Wales doth join with all the world
In praise of Henry Percy: by my hopes,
This present enterprise set off his head,
I do not think a braver gentleman,
More active-valiant or more valiant-young,
More daring or more bold, is now alive
To grace this latter age with noble deeds.
For my part, I may speak it to my shame,
I have a truant been to chivalry;
And so I hear he doth account me too;
Yet this before my father’s majesty —
I am content that he shall take the odds
Of his great name and estimation,
And will, to save the blood on either side,
Try fortune with him in a single fight.
King And, Prince of Wales, so dare we venture thee,
Albeit considerations infinite
Do make against it. No, good Worcester, no,
We love our people well; even those we love
Act V, Scene 1
65
69.
unkind: unnatural.
72.
articulate: set out in clear terms.
79.
want: lack.
94.
truant: absentee.
70
75
80
85
90
95
100
141
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Act V, Scene 1
That are misled upon your cousin’s part;
And, will they take the offer of our grace,
Both he and they and you, yea, every man
Shall be my friend again and I’ll be his,
So tell your cousin, and bring me word
What he will do: but if he will not yield,
Rebuke and dread correction wait on us,
And they shall do their office. So, be gone;
We will not now be troubled with reply:
We offer fair; take it advisedly.
105
109.
cousin: kinsman.
121.
bestride: stand over, one leg on each side.
123.
colossus: gigantic statue (like the one that reputedly bestrode the bay outside Rhodes).
130–131.
prick me off: tick me off on a list.
131.
set to: set (bones).
135.
A trim reckoning: “A fine account that is!”
140.
scutcheon: simple shield on a coat of arms such
as is displayed at funerals.
141.
catechism: series of doctrinal questions and
answers to be learned by heart.
110
[Exeunt WORCESTER and VERNON.]
Prince It will not be accepted, on my life:
The Douglas and the Hotspur both together
Are confident against the world in arms.
King Hence, therefore, every leader to his charge:
For, on their answer, will we set on them:
And God befriend us, as our cause is just!
115
120
[Exeunt all but the PRINCE OF WALES and FALSTAFF.]
Falstaff Hal, if thou see me down in the battle and
bestride me, so; ’tis a point of friendship.
Prince Nothing but a colossus can do thee that
friendship. Say thy prayers, and farewell.
Falstaff I would ’twere bed-time, Hal, and all well.
125
Prince Why, thou owest God a death. [Exit.]
Falstaff ’T is not due yet; I would be loath to pay
him before his day. What need I be so forward with
him that calls not on me? Well, ’tis no matter;
honour pricks me on. Yea, but how if honour prick
me off when I come on? how then? Can honour set to a
leg? no: or an arm? no: or take away the grief of a
wound? no. Honour hath no skill in surgery, then?
no. What is honour? a word. What is in that word honour? what is that honour? air. A trim reckoning!
Who hath it? he that died o’ Wednesday. Doth he feel
it? no. Doth he hear it? no. ’Tis insensible, then. Yea,
to the dead. But will it not live with the living? no.
Why? detraction will not suffer it. Therefore I’ll
none of it. Honour is a mere scutcheon; and so ends
my catechism. [Exeunt.]
130
135
140
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Act V, Scene 1
143
COMMENTARY
he last act begins with the dawn of the day of the batT
tle. Shakespeare starts the action in the King’s camp.
King Henry and the Prince see the sun rise “bloodily” and
believe that the “hollow whistling” of the wind “Foretells
a tempest and a blustering day.” These observations
instantly create a heavy and threatening mood. Nature is
ominously reflecting the violence and bloodshed that are
to come. This momentary musing is abruptly interrupted
by the sound of a trumpet: The rebels’ representatives,
Worcester and Vernon, have arrived.
The King greets Worcester sternly, and speaks to
him in language that is richly poetic. This language not
only vividly suggests the disorder that rebellion brings,
but conveys a sense of Henry’s king-like dignity. He uses
the royal “we”: “You have deceived our trust.” He
invites Worcester to return to obedience and once more
shine like a “fair and natural light, / And be no more an
exhaled meteor.” These contrasting images emphasize
the consequences of rebellion: The very natural order
of things is overturned. (Meteors were then regarded
as omens of disorder.)
Worcester replies by claiming that this war is not of
his making. Challenged to justify himself, he retells the
story of how he has been driven to rebel against the
King. Worcester had been among the first to welcome
Henry back from exile, supporting him in his claim to the
Dukedom of Lancaster. Henry had sworn that he “did
nothing purpose ‘gainst the state,” an oath he later “forgot” as he had risen in power and influence during the
rightful King Richard’s absence.
Worcester’s imagery is more down-to-earth than the
King’s: He describes the way that he and his family and
friends were used in the same way that a cuckoo uses
a sparrow’s nest, putting in a chick, which quickly
becomes so big that the others are driven out. The picture is a vivid one, but it contrasts with the grander
images used by the King. Compared with Henry’s talk of
orbs and meteors, things that affect the whole state,
Worcester’s language seems petty and personal. It
emphasizes the pain he and his friends have suffered
as individuals. He sums up Henry’s offences as “unkind
usage, dangerous countenance, / And violation of all
faith and troth / Sworn to us in your younger enterprise.”
The Prince then speaks up. The coming battle will
cost the lives of “many a soul.” He valiantly offers to
settle the issue by single combat with Hotspur, whom
he praises for his bravery and nobility. He admits that
he has himself “ a truant been to chivalry” in the past,
but offers to put this right now “to save the blood on
either side.” This is the reformed Hal speaking, a total
contrast with the characteristics he has shown previously in the tavern scenes and in his low-life escapades.
The reformed Hal is also utterly unlike the selfish Falstaff, who has little regard for the lives of the men he
now commands.
The King asks Worcester to tell the rebels that he still
extends the hand of peace if they will take it. His language again emphasizes responsible kingship. He uses
the royal “we,” expressing his responsibility to all of his
subjects: “We love our people well” — even those who
have been led astray. If the rebels don’t accept his
“grace,” they must face the consequences. “Grace” is
a word with religious overtones: It suggests the goodness of God, and its use here indicates that God is on
the side of the rightly ruling King, a claim that Henry
makes explicitly a few lines later. He orders his troops
to prepare to fight.
Now that the battle seems inevitable, Falstaff asks
the Prince to stand over him should he fall in the fighting, and Hal jokingly points out how difficult that would
be, given his size.
Falstaff is left alone on the stage, and makes an important speech, which stops the rapidly accelerating pace
of the play for a moment, and invites us to think about the
meaning of honor — something that will be fiercely
fought for shortly, and which is a key theme of the play.
Honor is a word, nothing more than air; to die for it is foolish. Falstaff won’t be doing so, if he can help it.
Falstaff’s cynical attitude is in direct contrast to that
of the heroic figures, Hal and Hotspur, who will shortly
be facing each other in honorable combat. This situation recalls that when powerful rulers engage in battle,
it is ordinary folk who have to pay the price in order for
their honor to be satisfied. All the major themes of the
play now weave together as it draws to a climax. Ideas
of kingship, honor, duty, responsibility, loyalty, good and
evil, appearance and reality, and the relationship
between fathers and sons all arise quickly now as the
play approaches its resolution.
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Act V, Scene 2
Act V,
Scene 2
Worcester decides that he and Vernon should not pass on the King’s
generous offer of peace, in case it is accepted. The trumpets sound the
beginning of the battle.
ACT V, SCENE 2
The rebel camp.
NOTES
[Enter WORCESTER and VERNON.]
Worcester O, no, my nephew must not know, Sir
Richard,
The liberal and kind offer of the king.
Vernon ’Twere best he did.
Worcester
Then are we all undone.
It is not possible, it cannot be,
The king should keep his word in loving us;
He will suspect us still and find a time
To punish this offence in other faults;
Suspicion all our lives shall be stuck full of eyes;
For treason is but trusted like the fox,
Who, ne’er so tame, so cherish’d, and lock’d up,
Will have a wild trick of his ancestors.
Look how we can, or sad or merrily,
Interpretation will misquote our looks,
And we shall feed like oxen at a stall,
The better cherish’d still the nearer death.
My nephew’s trespass may be well forgot;
It hath the excuse of youth and heat of blood,
And an adopted name of privilege,
A hare-brain’d Hotspur, govern’d by a spleen:
All his offences live upon my head
And on his father’s; we did train him on,
And, his corruption being ta’en from us,
We, as the spring of all, shall pay for all.
Therefore, good cousin, let not Harry know
In any case, the offer of the king.
Vernon Deliver what you will; I’ll say ’tis so.
Here comes your cousin.
[Enter HOTSPUR and DOUGLAS.]
3.
undone: ruined.
7.
in: along with.
8.
stuck full of eyes: i.e., always looking at us.
5
10
10.
never so: however.
11.
trick: characteristic.
19.
a spleen: hot-headedness.
23.
spring: fount, origin.
15
20
25
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Hotspur My uncle is return’d:
Deliver up my Lord of Westmoreland.
Uncle, what news?
Act V, Scene 2
145
30
Worcester The king will bid you battle presently.
Douglas Defy him by the Lord of Westmoreland.
Hotspur Lord Douglas, go you and tell him so.
Douglas Marry, and shall, and very willingly.
34.
and shall: I will.
[Exeunt.]
Worcester There is no seeming mercy in the king.
Marry: by (the Virgin) Mary.
35
Hotspur Did you beg any? God forbid.
Worcester I told him gently of our grievances,
Of his oath-breaking; which he mended thus,
By now forswearing that he is forsworn:
He calls us rebels, traitors; and will scourge
With haughty arms this hateful name in us.
39.
foreswearing: swearing falsely.
56.
all the duties of a man: all the respect manhood
deserves.
60.
dispraising praise valued with you: saying that you
were better than words of praise could express.
40
[Re-enter DOUGLAS.]
Douglas Arm, gentlemen; to arms! for I have
thrown
A brave defiance in King Henry’s teeth,
And Westmoreland, that was engaged, did bear it;
Which cannot choose but bring him quickly on.
45
Worcester The Prince of Wales stepp’d forth before the king,
And, nephew, challenged you to single fight.
Hotspur O, would the quarrel lay upon our heads,
And that no man might draw short breath to-day
But I and Harry Monmouth! Tell me, tell me,
How show’d his tasking? seem’d it in contempt?
Vernon No, by my soul; I never in my life
Did hear a challenge urged more modestly,
Unless a brother should a brother dare
To gentle exercise and proof of arms.
He gave you all the duties of a man:
Trimm’d up your praises with a princely tongue,
Spoke your deservings like a chronicle,
Making you ever better than his praise
By still dispraising praise valued with you;
50
55
60
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Act V, Scene 2
And, which became him like a prince indeed,
He made a blushing cital of himself;
And chid his truant youth with such a grace
As if he master’d there a double spirit
Of teaching and of learning instantly.
There did he pause: but let me tell the world,
If he outlive the envy of this day,
England did never owe so sweet a hope,
So much misconstrued in his wantonness.
Hotspur Cousin, I think thou art enamoured
On his follies: never did I hear
Of any prince so wild a libertine.
But be he as he will, yet once ere night
I will embrace him with a soldier’s arm,
That he shall shrink under my courtesy.
Arm, arm with speed: and, fellows, soldiers, friends,
Better consider what you have to do
Than I, that have not well the gift of tongue,
Can lift your blood up with persuasion.
62.
cital: reproach.
70.
enamoured on: in love with.
72.
libertine: person without moral restraints.
88.
for: as for.
90.
apace: swiftly.
65
70
75
[Enter a Messenger.]
Messenger My lord, here are letters for you.
80
Hotspur I cannot read them now.
O gentlemen, the time of life is short!
To spend that shortness basely were too long,
If life did ride upon a dial’s point,
Still ending at the arrival of an hour.
An if we live, we live to tread on kings;
If die, brave death, when princes die with us!
Now, for our consciences, the arms are fair,
When the intent of bearing them is just.
85
[Enter another Messenger.]
Messenger My lord, prepare; the king comes on
apace.
Hotspur I thank him, that he cuts me from my tale,
For I profess not talking; only this —
Let each man do his best: and here draw I
A sword, whose temper I intend to stain
With the best blood that I can meet withal
In the adventure of this perilous day.
90
95
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Now, Esperance! Percy! and set on.
Sound all the lofty instruments of war,
And by that music let us all embrace;
For, heaven to earth, some of us never shall
A second time do such a courtesy.
Act V, Scene 2
100
147
97.
Esperance!: Hope! (the battle cry and motto of the
Percys).
100.
heaven to earth: you can bet heaven against earth.
[The trumpets sound. They embrace, and exeunt.]
COMMENTARY
eanwhile, Worcester and Vernon have returned
M
to the rebel camp. Worcester doesn’t want to let
Hotspur know about “The liberal and kind offer of the
king.” Hotspur might accept it, in which case they would
all have to spend the rest of their lives under the cloud
of suspicion. He acknowledges that the King would be
right never to trust them, “For treason but trusted like
the fox.” Worcester is admitting here that he is like a fox
himself, and he says that, although it might be possible
for Hotspur’s treasons to be excused by his youth and
impetuousness, there is no such excuse for the older
generation that spurred him on.
This episode shows Worcester at his cynical worst.
The King and Hotspur (for all his faults) are motivated
by honor; Worcester, selfishly motivated, dishonorably
puts a lie between them. This not only makes peace
impossible, it seals the fate of his own nephew, Hotspur.
Vernon agrees not to pass on the King’s offer of peace
and pardon, and Worcester tells Hotspur a direct lie:
“There is no seeming mercy in the king.”
Nothing can stop the battle now. Douglas enters,
calling them all to arms. Worcester tells Hotspur of the
Prince’s offer to fight him in single combat, and Vernon
relays how graciously he did so, praising Hotspur’s qualities at the same time. Vernon makes it clear how moved
he was by the Prince’s offer, and speaks warmly of the
Prince’s promise if he should outlive the day. That the
reformed Hal should impress a rebel such as Vernon is
evidence of his growing heroic status — a standing that
will come to full glory as the warrior-king in Shakespeare’s Henry V. Hotspur, however, knows only the “libertine” reputation of Prince Hal and is anxious to
encounter him in battle.
A messenger arrives with letters for Hotspur, but
there is no time to read them. Another messenger
announces that the King’s advance is rapid. Hotspur is
glad to hear that the talking must end and the fighting
will begin at last. He utters the Percy family motto,
“Esperance!” as a battle-cry, embraces his kinsmen,
and exits. His language is full of lofty sentiments, and he
speaks of bravery, conscience, justice, and heaven. In
short, he faces the prospect of death with honor — the
very antithesis of Falstaff’s attitude, the expression of
which closes the previous scene.
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Act V, Scene 3
Act V,
Scene 3
The fighting has begun. Douglas kills Sir Walter Blunt, believing him to be
the King. The Prince comes across Falstaff and asks to borrow his pistol,
but his holster only contains a bottle of sack.
ACT V, SCENE 3
Plain between the camps.
NOTES
[The KING enters with his power. Alarum to the battle.]
S.D.
Alarum: trumpets and drums sounding call to
battle.
7–8.
bought thy likeness: paid for the fact that he
looked like you.
[Then enter DOUGLAS and SIR WALTER BLUNT.]
Blunt What is thy name, that in the battle thus
Thou crossest me? what honour dost thou seek
Upon my head?
Douglas
Know then, my name is Douglas;
And I do haunt thee in the battle thus
Because some tell me that thou art a king.
5
Blunt They tell thee true.
Douglas The Lord of Stafford dear to-day hath
bought
Thy likeness, for instead of thee, King Harry,
This sword hath ended him: so shall it thee,
Unless thou yield thee as my prisoner.
10
Blunt I was not born a yielder, thou proud Scot;
And thou shalt find a king that will revenge
Lord Stafford’s death.
[They fight. DOUGLAS kills BLUNT.]
[Enter HOTSPUR.]
Hotspur O Douglas, hadst thou fought at Holmedon thus,
I never had triumph’d upon a Scot.
Douglas All’s done, all’s won; here breathless
lies the King.
Hotspur Where?
Douglas Here.
Hotspur This, Douglas? no: I know this face full
well:
15
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A gallant knight he was, his name was Blunt;
Semblably furnish’d like the king himself.
Act V, Scene 3
149
20
21.
Semblably furnish’d: dressed to resemble the King.
26.
coats: surcoats, cloth garments with heraldic markings worn over armor to identify the wearer.
45.
Turk Gregory: Pope Gregory VII, whose reputation
for cruelty was like the Turks’.
Douglas A fool go with thy soul, whither it goes!
A borrow’d title hast thou bought too dear:
Why didst thou tell me that thou wert a king?
Hotspur The king hath many marching in his coats.
25
Douglas Now, by my sword, I will kill all his coats;
I’ll murder all his wardrobe, piece by piece,
Until I meet the king.
Hotspur
Up, and away!
Our soldiers stand full fairly for the day. [Exeunt.]
[Alarum. Enter FALSTAFF, solus.]
Falstaff Though I could ’scape shot-free at London,
I fear the shot here; here’s no scoring but upon the
pate. Soft? who are you? Sir Walter Blunt: there’s
honour for you! here’s no vanity! I am as hot as
molten lead, and as heavy too: God keep lead out of
me! I need no more weight than mine own bowels. I
have led my ragamuffins where they are peppered:
there’s not three of my hundred and fifty left alive;
and they are for the town’s end, to beg during life.
But who comes here?
30
35
[Enter the PRINCE.]
Prince What, stand’st thou idle here? lend me thy
sword:
Many a nobleman lies stark and stiff
Under the hoofs of vaunting enemies,
Whose deaths are yet unrevenged: I prithee, lend me
thy sword.
Falstaff O Hal, I prithee, give me leave to breathe
awhile. Turk Gregory never did such seeds in arms
as I have done this day. I have paid Percy, I have
made him sure.
40
45
Prince He is, indeed; and living to kill thee. I
prithee, lend me thy sword.
Falstaff Nay, before God, Hal, if Percy be alive,
thou get’st not my sword; but take my pistol, if thou
wilt.
50
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Act V, Scene 3
Prince Give it me; what, is it in the case?
Falstaff Ay, Hal; ’tis hot, ’tis hot; there’s that will
sack a city.
55
55.
sack: loot and pilfer; wine of this name.
59.
carbonado: joint of meat or fish slashed for
broiling.
[The Prince draws it out, and finds it to be a bottle of sack.]
Prince What, is it a time to jest and dally now?
[He throws the bottle at him. Exeunt.]
Falstaff Well, if Percy be alive, I’ll pierce him. If
he do come in my way, so: if he do not, if I come in
his willingly, let him make a carbonado of me. I
like not such grinning honour as Sir Walter hath:
give me life: which if I can save, so; if not, honour
comes unlooked for, and there’s an end. [Exeunt.]
60
COMMENTARY
he fighting has begun. As in all Shakespearean batT
tle scenes, we see a fast-moving series of little
close-up snippets of action in detail rather than largescale representations from a distance. The action is
more or less continuous now, and the scene divisions
(which are, in any case, made by editors, not by Shakespeare) become irrelevant. Traditionally, these little incidents follow each other without pause and take place
on different parts of the stage. The first encounter we
come across is one between Douglas and Sir Walter
Blunt. Blunt is one of several on the field who is dressed
like the King to deceive the enemy. Douglas believes
him to be King Henry, fights with him, and kills him. Hotspur points out to him that he has slain Sir Walter Blunt,
“A gallant knight,” and that “The king hath many marching in his coats” — that is, in tunics worn over armor to
identify the wearer. They move on.
Falstaff comes upon Blunt’s body and sees his death
as the result of the “honour” he spoke scornfully of at
the end of Act V, Scene 1. As for the men in his own
company, he has led nearly all of them to their deaths.
The three survivors have been so badly injured that they
will have to beg for a living. Falstaff has, of course,
saved his own skin. As he stands over Blunt’s body, the
contrast between his cowardice and Sir Walter’s honorable self-sacrifice is obvious.
The Prince enters, and finding Falstaff standing idle,
calls upon him to lend him his sword: There is much
work still to be done. Falstaff asks to be allowed to catch
his breath, and refuses to give up his sword. The implication is that Falstaff wants it only to protect himself. He
does, however, offer the Prince his pistol, but when Hal
opens Falstaff’s holster, he finds that it contains a bottle of sack. The jest, symbolic of Falstaff’s real priorities,
and another play upon the theme of appearance and
reality, fails to amuse. The Prince leaves, throwing the
bottle at him in contempt, a gesture that emphasizes the
growing distance between Hal and his former friends,
between the now-dutiful Prince and his past.
Falstaff is left musing on honor again, which he jokingly says might come his way if he happens upon Hotspur, for Hotspur would surely kill him. If that were to
happen, it would be an honor “unlooked for.” If the
choice is between an honorable death and life, Falstaff’s
preference is plain: “give me life.” For all Falstaff’s cowardice, we can see his point. Like most of us, he finds
himself quite out of place on the battlefield: His only
concern is to survive it.
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A surcoat, a tunic worn over armor to identify the wearer.
Biblioteca Marciana, Venice, Italy/ET Archive, London/SuperStock
Act V, Scene 3
151
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Act V, Scene 4
Act V,
Scene 4
The Prince saves the King from Douglas, who runs away. Hotspur and the
Prince fight. Douglas returns and fights Falstaff, who falls, pretending to
be dead. The Prince kills Hotspur and exits; Falstaff gets up and attempts
to claim the credit for Hotspur’s death.
ACT V, SCENE 4
Another part of the field.
NOTES
[Alarum. Excursions. Enter the KING, the PRINCE, LORD
JOHN OF LANCASTER, and the EARL OF WESTMORELAND.]
S.D.
Excursions: skirmishes, raids.
King I prithee,
Harry, withdraw thyself; thou bleed’st too much.
Lord John of Lancaster, go you with him.
Lancaster Not I, my lord, unless I did bleed too.
Prince I beseech your majesty, make up,
Lest your retirement do amaze your friends.
5
4.
make up: go to the front.
5.
retirement: retreat.
King I will do so,
My Lord of Westmoreland, lead him to his tent.
amaze: alarm, dismay.
Westmoreland Come, my lord, I’ll lead you to your
tent.
Prince Lead me, my lord? I do not need your
help:
And God forbid a shallow scratch should drive
The Prince of Wales from such a field as this,
Where stain’d nobility lies trodden on,
And rebels’ arms triumph in massacres!
Lancaster We breathe too long; come, cousin Westmoreland,
Our duty this way lies; for God’s sake, come.
10
15
[Exeunt LORD JOHN and WESTMORELAND.]
Prince By God, thou hast deceived me, Lancaster;
I did not think thee lord of such a spirit:
Before, I loved thee as a brother, John;
But now, I do respect thee as my soul.
20
15.
breathe: pause to catch breath.
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Act V, Scene 4
King I saw him hold Lord Percy at the point
With lustier maintenance than I did look for
In such an ungrown warrior.
22.
153
lustier maintenance: more spirited bearing.
look for: expect.
Prince
O, this boy
Lends mettle to us all! [Exeunt.]
24.
mettle: courage.
25.
Hydra’s heads: In Greek mythology, Hercules slew
this many-headed monster, which grew two heads
the moment one of them was cut off.
48.
redeem’d thy lost opinion: won back your lost
reputation.
[Enter DOUGLAS.]
Douglas Another king! they grow like Hydra’s
heads:
I am the Douglas, fatal to all those
That wear those colours on them: what are thou,
That counterfeit’st the person of a king?
King The king himself; who, Douglas, grieves at
heart
So many of his shadows thou hast met
And not the very king. I have two boys
Seek Percy and thyself about the field:
But, seeing thou fall’st on me so luckily,
I will assay thee: so, defend thyself.
Douglas I fear thou art another counterfeit;
And yet, in faith, thou bear’st thee like a king:
But mine I am sure thou art, whoe’er thou be,
And thus I win thee.
25
30
35
[They light; the King being in danger, re-enter PRINCE OF
WALES.]
Prince Hold up thy head, vile Scot, or thou art
like
Never to hold it up again I the spirits
Of valiant Shirley, Stafford, Blunt, are in my arms:
It is the Prince of Wales that threatens thee;
Who never promiseth but he means to pay.
[They fight: DOUGLAS flies.]
Cheerly, my lord: how fares your grace?
Sir Nicholas Gawsey hath for succor sent,
And so hath Clifton: I’ll to Clifton straight.
King Stay, and breathe awhile:
Thou hast redeem’d thy lost opinion,
And show’d thou makest some tender of my life,
In this fair rescue thou has brought to me.
40
45
50
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Act V, Scene 4
Prince O God! they did me too much injury
That ever said I hearken’d for your death.
If it were so, I might have let alone
The insulting hand of Douglas over you,
Which would have been as speedy in your end
As all the poisonous potions in the world
And saved the treacherous labour of your son.
55
King Make up to Clifton: I’ll to Sir Nicholas
Gawsey. [Exeunt.]
[Enter HOTSPUR.]
Hotspur If I mistake not, thou art Harry Monmouth.
Prince Thou speak’st as if I would deny my name.
60
Hotspur My name is Harry Percy.
Prince
Why, then I see
A very valiant rebel of the name.
I am the Prince of Wales; and think not, Percy
To share with me in glory any more:
Two stars keep not their motion in one sphere;
Nor can one England brook a double reign,
Of Harry Percy and the Prince of Wales.
Hotspur Nor shall it, Harry; for the hour is come
To end the one of us; and would to God
Thy name in arms were now as great as mine!
65
66.
70
Prince I’ll make it greater ere I part from thee,
And all the budding honours on thy crest
I’ll crop, to make a garland for my head.
Hotspur I can no longer brook thy vanities.
[They fight.]
[Enter FALSTAFF.]
Falstaff Well said, Hal! to it, Hal! Nay, you shall
find no boy’s play here, I can tell you.
75
[Re-enter DOUGLAS; he fights with FALSTAFF, who falls
down as if he were dead, and exit DOUGLAS. HOTSPUR
is wounded and falls.]
Hotspur O, Harry, thou hast robb’d me of my
youth!
brook: tolerate.
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I better brook the loss of brittle life
Than those proud titles thou hast won of me;
They wound my thoughts worse than thy sword my
flesh;
But thought’s the slave of life, and life time’s fool;
And time, that takes survey of all the world,
Must have a stop. O, I could prophesy,
But that the earthy and cold hand of death
Lies on my tongue: no Percy, thou art dust,
And food for — [Dies.]
Prince For worms, brave Percy: fare thee well,
great heart!
Ill-weaved ambition, how much art thou shrunk!
When that this body did contain a spirit,
A kingdom for it was too small a bound;
But now two paces of the vilest earth
Is room enough: this earth that bears thee dead
Bears not alive so stout a gentleman.
If thou wert sensible of courtesy,
I should not make so dear a show of zeal:
But let my favours hide thy mangled face;
And, even in thy behalf, I’ll thank myself
For doing these fair rites of tenderness.
Adieu, and take thy praise with thee to heaven!
Thy ignominy sleep with thee in the grave,
But not remember’d in thy epitaph!
[He spieth FALSTAFF on the ground.]
What, old acquaintance! could not all this flesh
Keep in a little life? Poor Jack, farewell!
I could have better spared a better man:
O’ I should have a heavy miss of thee,
If I were much in love with vanity!
Death hath not struck so fat a deer to-day,
Though many dearer, in this bloody fray.
Embowell’d will I see thee by and by:
Till then in blood by noble Percy lie. [Exeunt.]
Falstaff [Rising up] Embowelled! if thou embowel
me to-day, I’ll give you leave to powder me and cat
me to-morrow. ’Sblood, ’t was time to counterfeit or
that hot termagant Scot had paid me scot and lot
too. Counterfeit? I lie, I am no counterfeit: to die is
Act V, Scene 4
155
80
85
90
94.
sensible of: aware of.
109.
Embowell’d: Disemboweled for embalming.
112.
powder: i.e., for embalming or for preserving meat.
114.
termagant: violent.
95
100
105
110
115
scot and lot: in full (a phrase equivalent to “lock,
stock, and barrel”).
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Act V, Scene 4
to be a counterfeit for he is but the counterfeit of a
man who hath not the life of a man: but to counterfeit dying, when a man thereby liveth, is to be no
counterfeit, but the true and perfect image of life indeed. The better part of valour is discretion; in the
which better part I have saved my life. ’Zounds, I am
afraid of this gunpowder Percy, though he be dead:
how, if he should counterfeit too and rise? by my
faith, I am afraid he would prove the better counterfeit. Therefore I’ll make him sure; yea, and I’ll
swear I killed him. Why may not he rise as well as
I? Nothing confutes me but eyes, and nobody sees
me. Therefore, sirrah [stabbing him], with a new
wound in your thigh, come you along with me.
120
125
127.
Nothing confutes me but eyes: Only an eyewitness could refute my story.
131.
flesh’d: initiated, “blooded.”
[Takes up HOTSPUR on his back.]
[Re-enter the PRINCE OF WALES, and LORD JOHN OF
LANCASTER.]
Prince Come, brother John; full bravely hast thou
flesh’d thy maiden sword.
130
Lancaster
But, soft! whom have we here?
Did you not tell me this fat man was dead?
Prince I did; I saw him dead,
Breathless and bleeding on the ground. Art thou
alive?
Or is it fantasy that plays upon our eyesight?
I prithee, speak; we will not trust our eyes
Without our ears: thou art not what thou seem’st.
Falstaff No, that’s certain; I am not a double man:
but if I be not Jack Falstaff, then am I a Jack. There
is Percy [Throwing the body down]: if your father
will do me any honour, so; if not, let him kill the
next Percy himself. I look to be either earl or duke,
I can assure you.
Prince Why, Percy I killed myself and saw thee
dead.
Falstaff Didst thou? Lord, Lord, how this world is
given to lying! I grant you I was down and out of
breath; and so was he: but we rose both at an instant and fought a long hour by Shrewsbury clock. If
135
140
145
150
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I may be believed, so; if not, let them that should
reward valour bear the sin upon their own heads. I’ll
take it upon my death, I gave him this wound in the
thigh: if the man were alive and would deny it,
’zounds, I would make him eat a piece of my sword.
Act V, Scene 4
157
155
Lancaster This is the strangest tale that ever I
heard.
Prince This is the strangest fellow, brother John.
Come, bring your luggage nobly on your back:
For my part, if a lie may do thee grace,
I’ll gild it with the happiest terms I have.
160
159.
do thee grace: bring credit to you.
160.
gild: enhance.
166.
purge: cleanse myself (spiritually or physically, by
repentance or by taking drugs to lose weight).
[A retreat is sounded.]
The trumpet sounds retreat; the day is ours.
Come, brother, let us to the highest of the field,
To see what friends are living, who are dead.
[Exeunt PRINCE OF WALES and LANCASTER.]
Falstaff I’ll follow, as they say, for reward. He that
reward me, God reward him! If I do grow great, I’ll
grow less; for I’ll purge, and leave sack, and live
cleanly as a nobleman should do. [Exeunt.]
165
COMMENTARY
he action is continuous from the last scene to this
T
scene. In another part of the field of battle, there are
trumpet calls and “excursions” (representations of skirmishes or raiding parties). The King and his two sons,
Prince Hal and Prince John, enter with the Earl of Westmoreland. The King tells the Prince of Wales, whom he
calls “Harry” (a reminder to the audience that he is a
reformed character, and not the fun-loving Hal of the
past), to tend to his wounds. The Prince refuses: They
are only scratches. His younger brother also refuses to
retire. Harry asks the King not to retire either, in case
his troops are discouraged. He agrees.
The honor, loyalty, and bravery shown by the King
and his two sons, and in which the Prince now takes a
leading part, are in direct contrast to the cowardly selfinterest of Falstaff that we have only just witnessed.
Prince John (of Lancaster) goes off to fight again, and
the King and the Prince (of Wales) speak glowingly of
his courage.
Douglas now enters, and sees another person
dressed as the King, but this time it really is King Henry,
who bravely engages him in combat. The Prince comes
back to find his father disadvantaged. The Prince challenges, fights, and drives off Douglas, who has so far
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Act V, Scene 4
killed not only Blunt, but also two other valiant lords.
King Henry now tells his son “Thou hast redeem’d thy
lost opinion.” (The word “redeem” has very particular
religious associations: It puts the audience in mind of
the redeeming self-sacrifice of Christ on the cross, by
which mankind was saved. The Prince is a long way
from those tavern scenes now.) They speak affectionately to each other, showing them to be united at last.
The King leaves to support Sir Nicholas Gawsley, who
has sent for help, but before the Prince can go to the aid
of Clifton, who is also hard-pressed, Hotspur comes
upon the Prince.
The confrontation of Prince Hal and Hotspur is the
climax of the play. At this point, the character of these
two men is clear: Hotspur is young, brave, and honorable, but hot-headed and rebellious; the Prince is young,
brave, and honorable, but (now, at least) wise and dutiful. They acknowledge that there is not room in the kingdom for the two of them as they exchange
complimentary challenges. Characteristically, it is Hotspur who tires of talking first and initiates the fighting.
While the audience is watching the dramatic contrast played out between Hotspur and Hal, Shakespeare
also reminds us of the difference between Hal as he is
now and Hal as he first seemed to be: Falstaff arrives,
reminding us of the Prince’s past. Douglas turns up, too,
and fights with Falstaff, who falls as though dead. The
Prince, meanwhile, fatally wounds Hotspur, who dies in
the middle of a sentence that has to be completed for
him.
The Prince makes a generous funeral speech over
the body of “brave Percy.” He acknowledges that he
had a “great heart” and prays that he should be remembered for his valor, and that the faults of his “ill-weaved
ambition” should be forgotten. He then notices the fallen
Falstaff, and makes a speech over his body, too. At this
critical moment in the play, another key contrast is highlighted. He speaks of Falstaff affectionately (“Poor
Jack”) but slightingly (“I could have better spared a better man,” meaning he will miss him more than he
deserves). Hal would miss Falstaff more if he were still
in love with “vanity” (that is, with foolishness). Hal
leaves, promising that he will have Falstaff “embowell’d” (disemboweled and embalmed).
The prospect of being disemboweled and embalmed
brings Falstaff to his feet. He plays with logic again, to
defend his cowardly impersonation of death. It is the
dead man who is the real deceiver, he says, because a
dead man gives the appearance of life without having
it; but the man who pretends to be dead when he is alive
makes a true image of life, for he preserves both the
appearance and reality of life. He follows this comic
nonsense with an expression that has become a
proverbial justification for those who would rather run
away than fight: “The better part of valour is discretion.”
There is more comedy when he admits that he fears
Hotspur even though he is dead. What if Hotspur is playing the same trick as Falstaff? He makes sure, by stabbing Hotspur’s dead body. Falstaff will claim to have
killed him. He leaves, carrying Hotspur’s body on his
back. We can only laugh at his roguery and brazenness.
It relieves the tension of the fighting we have just seen,
and reminds us that there is something of the coward in
all of us. However, it also contrasts keenly with the more
noble attitude to matters of life and death that have
been shown by both Hotspur and the Prince. We laugh
at Falstaff’s cynicism, but at the same time we admire
the heroism of those he mocks.
The Prince returns with his brother, and they see Falstaff standing, carrying Hotspur’s body. They can hardly
believe their eyes. Falstaff throws down the corpse,
claiming that both he and Hotspur had got up after the
Prince had left, and fought for an hour in a fight, which
Falstaff won. He points to the wound he gave Hotspur
in the thigh, but he doesn’t tell them that he made it after
Hotspur had been killed by the Prince.
The Prince is pleased to see his old friend alive, even
if only for old time’s sake. We know from what he said
over Falstaff’s “dead” body that he now has little regard
for Falstaff’s foolishness; but, even so, Hal is as charmed
by Falstaff’s outrageous cheek as we are. The battle is
won, and in his joy Hal is perfectly happy to go along
with Falstaff’s story.
Falstaff is elated, too. Believing that he will be made
a noble as a result of his deception, he says that he will
give up his self-indulgent ways and become a reformed
character. Somehow, Shakespeare does not mean for
us to believe him.
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Act V,
Scene 5
Act V, Scene 5
159
Victory is sounded: The rebel army is defeated. The King orders the
execution of Worcester and Vernon. The battle has been won, but civil
war is not over yet.
ACT V, SCENE 5
Another part of the field.
NOTES
[The trumpets sound. Enter the KING, PRINCE OF WALES,
LORD JOHN OF LANCASTER, EARL OF WESTMORELAND, with WORCESTER and VERNON prisoners.]
King Thus ever did rebellion find rebuke.
Ill-spirited Worcester! did we not send grace,
Pardon and terms of love to all of you?
And wouldst thou turn our offers contrary?
Misuse the tenour of thy kinsman’s trust?
Three knights upon our party slain to-day,
A noble earl and many a creature else
Had been alive this hour,
If like a Christian thou hadst truly borne
Betwixt our armies true intelligence.
5
10
5.
tenour: habitual condition.
8.
Had: would have.
10.
true intelligence: accurate information.
20.
Upon the foot of fear: fleeing in panic.
Worcester What I have done my safety urged
me to;
And I embrace this fortune patiently,
Since not to be avoided it falls on me.
King Bear Worcester to the death and Vernon too:
Other offenders we will pause upon.
15
[Exeunt VERNON and WORCESTER guarded.]
How goes the field?
Prince The noble Scot, Lord Douglas, when he saw
The fortune of the day quite turn’d from him,
The noble Percy slain, and all his men
Upon the foot of fear, fled with the rest;
And falling from a hill, he was so bruised
That the pursuers took him. At my tent
The Douglas is; and I beseech your grace
I may dispose of him.
20
25
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Act V, Scene 5
King
With all my heart.
Prince Then, brother John of Lancaster, to you
This honourable bounty shall belong:
Go to the Douglas, and deliver him
Up to his pleasure, ransomless and free:
His valour shown upon our crests to-day
Hath taught us how to cherish such high deeds
Even in the bosom of our adversaries.
30
Lancaster I thank your grace for this high courtesy,
Which I shall give away immediately.
King Then this remains, that we divide our power.
You, son John, and my cousin Westmoreland
Towards York shall bend you with your dearest
speed,
To meet Northumberland and the prelate Scroop,
Who, as we hear, are busily in arms:
Myself and you, son Harry, will towards Wales,
To fight with Glendower and the Earl of March.
Rebellion in this land shall lose his sway,
Meeting the check of such another day:
And since this business so fair is done,
Let us not leave till all our own be won. [Exeunt.]
35
40
45
43.
business: all three syllables are pronounced.
COMMENTARY
n another part of the battlefield, the rebels WorcesO
ter and Vernon have been captured. The King
rebukes them for their rebelliousness. Many have
unnecessarily lost their lives because Worcester did not
convey the King’s offer of peace to his opponents. King
Henry orders that the two captives be executed. He will
make up his mind about what to do with the other prisoners later.
The Prince reports that “The noble Scot, Lord Douglas” has also been captured. He fell down a hill while
running away, after seeing that the rebel cause was
lost. The Prince asks the King for the right to dispose of
him, which he does by setting him free without ransom.
This gesture shows that the victors can be merciful and
generous to their honorable opponents, as well as justly
punishing those like Worcester and Vernon who have
behaved dishonorably. Clearly, this royal family is capable of mercy as well as justice. As the play ends, Shakespeare leaves us with the memory of the victorious
Henry acting in a very kingly fashion, and his reformed
son Hal dutifully supporting him with nobility and grace.
The last speech of the play recalls that though they
have won a great battle, they have not yet crushed the
rebellion. The King orders Prince John to go with Westmoreland to York, to deal with Northumberland and
Scroop, the Archbishop. He and Prince Harry will head
for Wales, to tackle Owen Glendower. In this way,
Shakespeare reminds us that there is more of the story
to be told, and leaves us wanting to hear how it develops in the next play in the series, King Henry IV, Part 2.
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CLIFFSCOMPLETE REVIEW
Use this CliffsComplete Review to gauge what you’ve
learned and to build confidence in your understanding of the original text. After you work through
the review questions, the problem-solving exercises,
and the suggested activities, you’re well on your way
to understanding and appreciating the works of
William Shakespeare.
IDENTIFY THE QUOTATION
Identify the following quotations by answering these
questions:
* Who is the speaker of the quote?
* What does it reveal about the speaker’s character?
* What does it tell us about other characters within
the play?
* Where does it occur within the play?
* What does it show us about the themes of
the play?
* What significant imagery do you see in the quote,
and how do these images relate to the overall
imagery of the play?
1. My reformation, glittering o’er my fault
6. I saw young Harry, with his beaver on,
His cuisses on his thighs, gallantly arm’d
Rise from the ground like feather’d Mercury
7. What is honour? A word.
8. Two stars keep not their motion in one sphere.
9. Fare thee well, great heart.
10. The better part of valour is discretion.
TRUE/FALSE
1. T F
Worcester is loyal to King Henry.
2. T F
The Hotspur family seat is at Warkworth Castle.
3. T F
Falstaff ’s horse is stolen by Prince Hal.
4. T F
Owen Glendower speaks no English.
5. T F
“ ’Zounds” is an old-fashioned word for
“sounds”.
6. T F
The name of the Archbishop of York is
“Archibald.”
7. T F
The real-life Hal and Hotspur were of
about the same age.
8. T F
The King before Henry IV was
Richard II.
9. T F
At the beginning of the play, there are
rebellions in Wales and Scotland.
2. What, drunk with choler?
3. To put down Richard, that sweet lovely rose,
And plant this thorn, this canker, Bolingbroke.
4. Banish plump Jack and banish all the world.
5. At my nativity
The front of heaven was full of fiery shapes
10. T F
Hotspur’s uncle is called “Vernon.”
11. T F
Worcester’s troops are defeated at the
battle of Shrewsbury.
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12. T F
Douglas is called “The Douglas” to
emphasize his bravery.
13. T F
Poins is sometimes called “Yedward.”
14. T F
Gadshill is the name of a character and
a place.
15. T F
Another name for Prince Hal is “Harry
Monmouth.”
MULTIPLE CHOICE
1. Lady Mortimer is the daughter of:
a. Northumberland
b. Worcester
c. Owen Glendower
2. Lady Percy is Mortimer’s:
a. sister
b. mother
c. aunt
3. Blunt is on the side of
a. the King
b. the rebels
4. How many plays are there in a tetralogy?
a.
b.
c.
d.
two
three
four
five
5. The great battle of the play takes place at:
a. Shrewsbury
b. Salisbury
c. Coventry
6. At the beginning of the play, Hotspur dis-
pleases the King by refusing to hand over captives he has taken in:
a. Ireland
b. Scotland
c. Wales
7. When the rebels meet in Act III, Scene 1, they
divide the map of the kingdom into how many
parts?
a. three
b. four
c. five
8. The character with the nose like a lantern is:
a. Bardolph
b. Peto
c. Blunt
9. During the battle, Falstaff is shown to have in
his holster:
a. an unloaded pistol
b. a pie
c. a bottle of sack
10. On the morning of the great battle, the
weather is:
a. sunny
b. snowing
c. windy
11. Who decides not to pass on the King’s offer of
peace to the rebels?
a. Worcester
b. Vernon
c. Sir Michael
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CliffsComplete Review
12. Mistress Quickly’s Tavern is in what town?
a. Charing Cross
b. Eastcheap
c. Windsor
13. Who has his pocket picked?
a. Prince Hal
b. Peto
c. Falstaff
165
10. Hotspur
calls Prince Hal “Harry
__________”, a reference to the town of his
birth.
DISCUSSION
Use the following questions to generate discussion:
1. Who are the characters that show heroic qual-
ities in Henry IV, Part 1?
2. Account for the comic success of Falstaff, tak-
14. Who kills Sir Walter Blunt?
a. Hotspur
b. Worcester
c. Douglas
15. At the end of the play, Douglas is:
a. freed
b. executed
c. imprisoned
FILL IN THE BLANK
1. The first scene of the play is set in
2.
3.
4.
5.
6.
7.
8.
9.
__________.
The last scene of the play takes place near
__________.
Prince Hal is the Prince of __________.
The name of the tavern is __________.
__________ is the name of the drawer who is
teased by Prince Hal.
At the beginning of the play, the King says he
wishes that __________ had been exchanged
by fairies for his own son when he was a baby.
__________’s wife can speak no English.
Falstaff claims the credit for the death of
__________.
Hotspur’s
dominant
“humour”
is
__________.
ing into consideration the way that Shakespeare presents all of his faults.
3. How does Shakespeare present the women in
this play?
4. What does this play tells us about what it takes
to be a good ruler?
5. Why do you think that Henry IV, Part 1 has
always been so popular?
6. Do you find Prince Hal’s “reformation”
convincing?
7. What do the “tavern scenes” contribute to the
success of the play as a whole?
8. Does Hotspur have any attractive qualities?
9. In what sense is Henry IV, Part 1 a “history”
play?
10. How does Shakespeare make this play exciting?
IDENTIFYING PLAY ELEMENTS
Find examples of the following elements in the text
of King Henry IV, Part 1:
*
*
*
*
Metaphor
Simile
Soliloquy
Hyperbole
166
*
*
*
*
*
*
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Idiom
Prose
Rhyming Couplet
Dramatic Irony
Comedy
Antithesis
ACTIVITIES
The following activities can springboard you into
further discussions and projects:
3. Imagine that your school is going to put on a
production of Henry IV, Part 1. Remembering
that some of the audience won’t have studied the
play, that they might be new to Shakespeare, and
that they may find his language a little difficult
to understand, create a theater program that
could help them enjoy and understand the performance. Remember that an audience doesn’t
have time to read a lengthy introduction: You
have to decide what points you want to get
across, and make them concisely.
4. Write a script for a short radio program that sets
1. If it is at all possible, see the play performed.
Stage performance is what Shakespeare wrote
it for, and it’s far easier to understand what’s
going on if you see it acted out than if you have
to bring it to life in your imagination when
reading it. Even a bad or indifferent or flawed
production is worth watching: It might be
unsatisfying, but it will leave you thinking
about why you were disappointed and how the
play should have been produced.
2. Working alone or in a group, design a Web site
to help students of Henry IV, Part 1. Begin by
making a list of what the site should contain,
and then sketch out a plan of how the site would
work, starting with a home page and deciding
how the other pages link together. To make it
easy to navigate, be sure that each page has a
clear link back to the home page, on which you
should provide a contents section. You might
choose to include a background section that
puts the play in context and perhaps a page for
each of the main characters or groups of characters. You could include a summary of the play,
scene by scene. Whatever you choose to do,
keep in mind the purpose of the exercise: to create a resource that will help someone like yourself who wants to organize his or her thoughts
on the play so that they have a firm grasp of it.
out to explain how the character of Falstaff has
come to have such a hold on the popular imagination. You should include short extracts from
Henry IV, Part 1, and mention the other plays
by Shakespeare in which Falstaff appears or is
mentioned. You should also find out how
Shakespeare finally kills Falstaff off, and consider
why he does this.
5. A class or group activity: Stage a mock trial at
which Worcester and Vernon are given the
opportunity to defend themselves and the rebel
cause. Choose students to play the roles of the
judge, attorneys, and jury — and include the
jury’s deliberations as part of the exercise.
6. Research the actual history behind the story of
this play. Use history books, encyclopedias and
the Internet to help you. Make a list of Shakespeare’s deviations from historical fact.
7. Imagine that modern newspaper technology had
been available at the time of the play. Produce
the front page — and maybe more — of an edition of a newspaper that might have appeared
on a key day during the play’s events. You will
need to appoint an editor and allocate articles,
columns and features to members of the group.
Before you start, you should spend some time
deciding which day from the play to choose.
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CliffsComplete Review
8. “Balloon Debate”: a group or class activity,
based upon individual research. Stage a debate
in which a number of students take the part of
key characters from the play. The idea of a “balloon debate” is that the characters are in the
basket of an imaginery hot-air ballon, and that
the balloon has only enough power to keep one
person safely in the air. Any more than this,
and it will crash, and all will be killed. Each
character has to make a speech explaining why
he or she should be the one to survive, and why
the others should be thrown out. The audience
participates by asking questions of the characters and then takes a vote on which of them is
to be allowed to survive. This can be great fun,
but needs a strong chairperson to control it!
9. Individual activity: Choose a character from
the play, and write a full description of his or
her personality from two points of view: first,
as if written by a friend and admirer; second,
as if by an enemy. Justify your comments by
close reference to the text of the play. Then
consider your own response to the character,
and how Shakespeare has encouraged that
response in you.
10. Individual, then group activity. Select a few
characters in the play. Choose one short quotation (made by or about them) that you think
best sums up their characters as revealed in the
play. Compare results, and take a vote, if you
wish, on which is the best quote for the job.
ANSWERS
167
Prince’s speech at the end of Act I, Scene 2, in
which he declares that he is not as he seems.
Hal is, at heart, a responsible character, and he
believes that, when he shows his real virtuous
self to the people, they will admire him all the
more for its contrast with his previous
reputation.
2. Speaker: Northumberland; Person spoken to:
Hotspur; Location: Act I, Scene 3; Comments:
This short accusation of uncontrollable anger
sums up one of Hotspur’s dominant characteristics. It is all the more convincing because
it is spoken by a father to a son.
3. Speaker: Hotspur; Persons spoken to: North-
umberland and Worcester; Location: Act I,
Scene 3; Comments: These words sum up the
intensity of hatred that the Percys feel towards
the usurping King, against whom they rebel
and who they believe has no right to reign.
4. Speaker: Falstaff; Person spoken to: Prince Hal;
Location: Act II, Scene 4; Comments: This is
the scene in which Hal and Falstaff take turns
acting out the interview that they imagine will
take place between Hal and his father. Falstaff
is here playing the role of the Prince, and putting the case strongly that Hal should be
allowed to keep his friendship with Falstaff.
The importance of the speech is greater than
its comedy. As the play goes on, it becomes
increasingly clear that Hal and Falstaff are
growing apart, and this affectionate banter will
be a thing of the past. In Henry IV, Part 2, Hal
does indeed reject his old friend outright.
5. Speaker: Owen Glendower; Person spoken to:
Identify the Quote
1. Speaker: Prince Hal; Person spoken to: He
speaks these lines to himself, so that the audience of the play can hear him thinking aloud.
It is a soliloquy; Location: Act I, Scene 2;
Comments: The lines are taken from the
Hotspur; Location: Act III, Scene 1; Comments: Glendower’s language here marks him
out as self-important (like Hotspur) but with
an almost mystical, fanciful imagination (very
unlike Hotspur’s). This quote underlines the
incompatibility of the two rebels.
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6. Speaker: Vernon; Persons spoken to: Hotspur,
10. Speaker: Falstaff; Person spoken to: He speaks
Worcester, and Douglas; Location: Act IV, Scene
1; Comments: This enthusiastic description of
the figure cut by the Prince is all the more
impressive because it comes from the mouth of
one of his enemies. The hyperbole (a literary term
meaning “exaggeration”) of its expression presents Hal (who is here called, more respectfully,
“Harry”) as if he were a kind of god.
these lines to himself, so that the audience of
the play can hear him thinking aloud. It is a
soliloquy; Location: Act V, Scene 4; Comments: This neat excuse for Falstaff ’s cowardice
has become proverbial. It is another contrast
with the courage of those around him, including the fallen Hotspur and the Prince who
killed him.
7.
Speaker: Falstaff; Person spoken to: He speaks
these lines to himself, so that the audience of
the play can hear him thinking aloud. It is a
soliloquy; Location: Act V, Scene 1; Comments: This speech is an important one given
by Falstaff, in which he expresses his contempt
for the notion of honor, at a time when a great
battle is about to take place in which many
men will die for honor, and his friend, Prince
Hal, will be one of those fighting for it. This
soliloquy takes us to the very heart of Falstaff ’s
character, showing the audience how he and
the Prince are growing apart.
8. Speaker: The Prince; Person spoken to: Hot-
spur; Location: Act V, Scene 4; Comments:
The sentence neatly sums up the rivalry of the
two contrasting and competing young heroes.
9. Speaker: The Prince; Person spoken to: Hot-
spur, already dead; Location: Act V, Scene 4;
Comments: This shows how the Prince is
magnanimous in victory, showing respect for
the courage and honor of the man it has been
his duty to kill.
True/False
1. False 2. True 3. False 4. False 5. False 6. False
7. False 8. True 9. True 10. False 11. False
12. False 13. True 14. True 15. True
Multiple Choice
1. c 2. a 3. a 4. c 5. a 6. b 7. a 8. a 9. c 10. c
11. a 12. b 13. c 14. c 15. a
Fill in the Blank
1. London (The Palace) 2. Shrewsbury
3. Wales 4. The Boar’s Head 5. Francis
6. Hotspur 7. Mortimer 8. Hotspur 9. Choler
10. Monmouth
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CLIFFSCOMPLETE
RESOURCE CENTER
The learning doesn’t need to stop here. CliffsComplete Resource Center shows you the best of the best:
great links to information in print, on film, and
online. And the following aren’t all the great
resources available to you; visit www.cliffsnotes.com
for tips on reading literature, writing papers, giving
presentations, locating other resources, and testing
your knowledge.
Shakespeare, William. Four Histories: Richard
II/Henry IV, Part One/Henry IV, Part Two/Henry
V. New York: Penguin Classics, 1995.
Those who would like to read the whole story,
of which this play forms one part, can do so in this
volume.
INTERNET
BOOKS, MAGAZINES, AND
ARTICLES
Illinois Shakespeare Festival
Bullough, Geoffrey. Narrative and Dramatic Sources
of Shakespeare: Later English History Plays: King
John, Henry IV, Henry V, Henry VIII. New York:
Columbia University Press, 1962.
This site has an attractively presented range of
resources, including some very helpful essays on plays
produced. “The Making of a King: Henry IV, Part
1” by Kim Pereira is a well-written piece that many
students find accessible and helpful.
Really keen scholars may want to look up the
sources used by Shakespeare and see for themselves
how he has adapted them — and this book provides
the opportunity to do just that. Note: This is probably a book to borrow from the library rather than
to buy; at the time of writing its price is $99.
Doyle, John and Ray Lischner. Shakespeare For Dummies. Foster City, California: IDG Books Worldwide, Inc., 1999.
This guide to Shakespeare’s plays and poetry
provides summaries and scorecards for keeping track
of who’s who in a given play, as well as painless introductions to language, imagery, and other often
intimidating subjects.
(www.orat.ilstu.edu/shakespeare/shakespeare.html)
Mr. William Shakespeare and the Internet
(daphne.palomar.edu/shakespeare/)
This site has many good links to every kind of
resource and aims to be a complete annotated guide
to the scholarly Shakespeare resources available on
the Internet. It also includes many resources of more
general use, such as details of Shakespeare festivals.
Webspeare
(cncn.com/homepages/ken_m/shakespeare.html)
This site is aimed particularly at high school students. Among its many useful and attractive features
is a section devoted to teaching the proper pronunciation of Elizabethan English, with easily downloaded sound files as examples.
170
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The Works of the Bard
(www.gh.cs.su.oz.au/~matty/shakespeare/shakespeare.html)
This site offers free downloadable copies of the
plays, some of them with very good search engines
that can help identify or find quotations or references. An interesting use of such a facility would be
to find out the number of times that certain key
words are used in the play, for example.
FILMS
Chimes at Midnight, known also as Falstaff. Directed
by Orson Welles. Performed by Orson Welles
and John Gielgud. 1965.
This film is a fascinating adaptation of much of
Henry IV, Part 1 and some of Henry IV, Part 2. It is
marvelous cinema but hard to come by. Students
new to either play should be aware that Welles makes
many cuts and changes that may be confusing.
Among its many insights is a brilliant characterization of Falstaff by Welles himself.
BBC Television Shakespeare: Henry IV, Part I. Directed
by David Giles. Performed by Anthony Quayle,
Jon Finch, and David Gwillim. 1979.
This made-for-television movie is true to the text
and has an excellent cast, including Anthony Quayle
as Falstaff. It brings the play convincingly to life but
finding a copy of the film is difficult.
Hal. Directed by Christopher T. Parks. Performed by
John Ahlin, Stevie Ray Dallimore, Les Minski,
and Chris Guild. 1998.
This film is a more recent conflation of both of
Shakespeare’s plays about Henry IV. It is easily available in video format from Muse of Fire Films, P.O.
Box 247, East Brunswick, New Jersey 08166 (e-mail:
[email protected]).
Henry V. Directed by Laurence Olivier. Performed
by Laurence Olivier, Renee Asherson, Harcourt
Williams, and Robert Newton. 1944.
This famous version of Henry V, directed by and
starring the classic Shakespearean actor Laurence
Olivier, is worth watching for its charming recreation
of an original Elizabethan theater in the early part of
the film. It also, of course, shows the full glory
achieved by Prince Hal of Henry IV, Part 1 when he
becomes king himself.
Henry V. Directed by Kenneth Branagh. Performed
by Kenneth Branagh, Derek Jacobi, Simon
Shepard, James Larkin, Brian Blessed, James
Simmons, and Emma Thompson. 1989.
Those who would like to see a less romanticized
version of Henry V (when compared to the 1944
Olivier version) should watch this more recent version made by Kenneth Branagh.
OTHER MEDIA
SHAKSPER Listserv
([email protected])
This Listserv is an international electronic conference for Shakespearean researchers, instructors,
students, and those who share their academic interests and concerns. For further details, e-mail the
moderator, Dr. Hardy M. Cook, at SHAKSPER@ws.
bowiestate.edu
Shakespeare, William. Henry IV, Part 1. Audio cassette. New York: Penguin Audiobooks, 1999.
A first-class (but slightly abridged) audio recording of the play has been produced by Penguin
Audiobooks. The cast includes Jamie Grover as
Prince Hal and Richard Griffiths as Falstaff. Those
who find Shakespeare’s language difficult to understand at first can be greatly helped by following the
text while listening to a good tape like this.
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CLIFFSCOMPLETE READING
GROUP DISCUSSION GUIDE
Use the following questions and topics to enhance
your reading group discussions. The discussion can
help get you thinking — and hopefully talking —
about Shakespeare in a whole new way!
DISCUSSION QUESTIONS
1. Although Henry IV, Part I is a history, it has
both tragic and comic scenes and characters.
Are tragedy, comedy, and history three separate
genres? In what way are tragedy and comedy
aspects of history? What might Shakespeare be
saying by combining tragic, comic, and historical elements into one play?
2. Henry IV, Part I features a large cast of sup-
porting characters. Why did Shakespeare
include the characters of Poins? Bardolph?
Lady Percy? Glendower? Vernon? What do
these characters add to the play? How would
the play be different if you took away each of
these characters?
3. Henry IV, Part I is often performed with the
two plays that follow it — Henry IV, Part II
and Henry V. When performing multiple plays,
casting the role of Hal (who eventually become
Henry V) presents some challenges. Henry IV,
Part I needs a youthful Hal, but the strength
and emotional scenes in the later plays require
an experienced (and often older) actor. What
are the pros and cons of casting a younger actor
as Hal? What about an older actor? Do you
need to cast one actor to do all three plays? Or
would multiple actors be more appropriate?
4. While Falstaff and the tavern folk speak mainly
in bawdy prose, the royal court speaks mainly
in verse. How does Hal’s speech change when
he is in both worlds. Does Hal communicate
better in one world over another? What might
Shakespeare be saying about how language creates our world? Or how our world creates our
language?
5. Falstaff is a thief, a liar, a drunkard, a glutton,
a cheat, and a coward — and yet the best actors
throughout the ages have longed to play him,
and audience and readers are fascinated by
him. What makes this character so interesting?
How comically do you think he should be
played? How darkly?
6. Many films and stage productions have set
other Shakespearean plays in time periods and
locations different from those specified by
Shakespeare in his original writing. For example, productions of Julius Caesar have been set
in Nazi Germany, a 1930s Chicago meatpacking factory, and even in outer space. Although
Henry IV, Part I is rooted in history, can it be
set in other time periods or locations? What
would be lost by setting the play in time period
different from it historical roots? What might
be gained? What characters, lines, or scenes
would need to be cut or rewritten to fit with
changes in time period or location?
7. Most of Shakespeare’s original audience was
already familiar with the character of Hal
because numerous “wild prince Hal” stories
where part of the national mythology of
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England. In most of these stories, Hal is reckless and wild — a free spirit. What characteristics does Shakespeare add to Hal, in order to
give him more depth and complexity? What
national mythology exists for other famous
leaders? How does national mythology affect
our understanding of the past?
10. In a sense, Hal is a student in the classroom of
8. Although Hal’s development is the dramatic
11. In a recent U.S. production, the roles of Fal-
continuity of the play, many actors prefer to
play Hotspur. Why might this be so?
staff and Henry were played by the same actor.
(The moments where both characters appear
together, required the use of a body double and
sound recordings.) What are the pros and cons
of the doubling? What does the play lose?
What does it gain?
9. Although historians are not certain of the exact
date when Henry IV, Part I was first performed,
Queen Elizabeth would have been well into her
sixties and did not have an assured heir to the
throne. While Henry IV, Part I isn’t purely a
political play, it was written during a passionate political era. What about the play feels
politically anxious? What are the play’s hopeful, more reassuring aspects?
life. He studies in the royal court, on the battlefield, and in the tavern. What do each of
these “classrooms” bring to Hal’s education?
Does Hal balance what he has learned? Does
Shakespeare believe in a balanced education for
leaders?
12. Robert Bly’s popular book about the men’s
movement, Iron John, refers frequently to King
Henry IV, Part I. How is Hal’s journey the journey that all men go through? How are the influences in his life (Henry, Hotspur, Falstaff, and
so on) the influences that all men encounter?
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Index
A
Act of Succession, 10
Act of Supremacy, 10
actors in theatres, 15
All Saints/All Hallows Day, 36
alliteration, 86
anti-Stratfordians, 1
Antic (character), 33
Antony and Cleopatra (play), 18
appearance contrasted with reality as theme of play
Falstaff and, 21, 150
Hal and, 21, 39, 85, 86, 108
April 23, 2
Archbishop’s mitre, 135
aristocracy, 12–13
arras, 15
“At my nativity” (Glendower), 167
audio cassette of Henry IV, Part 1, 170
B
Bacon, Francis, 1
“Banish plump Jack and banish all the world” (Falstaff ), 167
Bard, the. See Shakespeare, William
Battle of Shrewsbury, 18, 19
battle scenes of Shakespeare, 150, 157, 160
BBC Television Shakespeare: Henry IV, Part I, 170
Bedford Companion to Shakespeare, The (McDonald), 7
behavior and humors, 9
“The better part of valour is discretion” (Falstaff ), 167
Bevington, David, ed., The Complete Works of
Shakespeare, 7, 8, 11, 12
Bible, 11
Bishop’s Bible, 11
Blackfriars Theatre, 5, 15
blank verse, 7, 22, 31, 108
bloodshed imagery, 22
Bloody Mary, 10–11
Blunt, Walter (character), 49, 132–133, 150
Boleyn, Anne, 10
Bolingbroke, Henry (character). See King Henry IV
(character)
Book of Common Prayer (Cranmer), 10
broom plant, 31
bubonic plague, 4, 14
Bullough, Geoffrey, Narrative and Dramatic Sources
of Shakespeare, 169
C
Calvin, John, 9
cast off copy, 16
Catherine of Aragon, 10
Catholicism, 2, 9–11
censorship, 14, 17
Chain of Being, 9
characters in play. See also specific characters, such as
Prince Hal (character)
ages of, 18, 23
Character Web, 23, 24
female, 13
judging, 22–23, 31
parallels and contrasts in, 23
Charles I, 12
Chettle, Henry, 4
Chimes at Midnight (film), 170
Chronicles (Holinshed), 18
cinematic versions of Shakespeare’s plays, 1, 170
Civil War (English), 12
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class in Early Modern England, 12–13
CliffsNotes Web site, 169
coat of arms, 125, 142, 151
coinage, 84, 111
collaborative nature of theatre, 16
colossus, 142
Companion to Shakespeare, A (Kastan, ed.), 7
Complete Works of Shakespeare, The (Bevington,
ed.), 7, 8, 11, 12
compositor, 16
Condell, Henry, 6
conflated version of play, 5
confrontation of Prince Hal and Hotspur, 158
Copernicus, Nicolaus, 8
cosmology, 8
costumes, 15
couplets, 22, 115
Cranmer, Thomas, 10
Crusader, 30
cuisse, 122, 125
D
daily life in Early Modern England, 13
Diana, 32
doublet, 85
Douglas, Earl of (character)
Blunt and, 150
capture of, 160
fear and, 124
Hotspur and, 123
King Henry and, 157–158
Doyle, John, Shakespeare For Dummies, 169
dramatic irony, 58, 62–63, 115
Drayton, Michael, 5
E
Early Modern English, 6–7
Early Modern period in England, 8
Earth, hierarchical conception of, 9
Eastcheap, 37
Edward VI, 10
elements of universe, 9
Elizabeth I
as author of Shakespeare’s works, 1
death of, 5
marriage and, 13
Mary and, 10
as “out of order,” 9
reign of, 11–12
Elizabethan period, 8
emotions and humors, 9
England, Early Modern
intellectual context of, 8–9
overview of, 7–8
political context of, 11–12
printing press in, 16–17
religious context of, 9–11
social context of, 12–14
theatre in, 14–16
English Renaissance, 7–8
episcopacy, 11
Evans, G. Blakemore, ed., The Riverside
Shakespeare, 7
F
fair copy, 16–17
Falstaff, John (character)
“Banish plump Jack and banish all the
world,” 167
“The better part of valour is discretion” (Falstaff ), 167
cowardice of, 150, 158
on honor, 143, 150
introduction of, 39
King’s army and, 128
melancholy of, 115
morality play and, 21–22
plot of play and, 19–20
Prince Hal and, 19–20, 38, 86, 150, 158
robbery tale of, 85
in Shakespeare’s plays, 17–18
source for, 18
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Index
traits of, 22–23, 62–63, 128, 143
“What is honour? A word,” 167
Falstaffian, 18
familiarity breeds contempt, theme of play, 39
Famous Victories of Henry The Fifth, The, 18
“Fare thee well, great heart” (Prince Hal), 167
fathers and sons. See parents and children, relationship between
female characters in play, 13
film versions of Shakespeare’s plays, 1, 170
Finsbury Fields, 99
First Folio, 5
Fletcher, John, 5, 6
folio format, 5
foreshadowing, 143
foul papers, 16
Four Histories (Shakespeare), 169
Francis (character), 85
franklin, 58
G
Gadshill, 35
Gadshill (character), 36, 58, 62
Galileo, 8
gamblers, 85
Geneva Bible, 11
Geoffrey IV, 31
Ghent, 61
Glendower, Owen (character)
“At my nativity,” 167
daughter of, 13
defeat by, 30
egotism of, 100–101
Hotspur and, 20
language of, 102
rebel cause and, 19
Globe Theatre, 4, 5, 14, 15, 16
Good Friday, 39
grace, use of word, 143
Greenblatt, Stephan, ed., The Norton Shakespeare,
7, 11, 12
Greene, Robert, 3–4
groundlings, 14
H
Hal (character). See Prince Hal (character)
Hal (film), 170
Hamlet (play), versions of, 5
hanging, references to, 78
heavens of theatre, 15
Heminge, John, 6
Henry V (films), 170
Henry V (play), 19
Henry VIII, 10
Hercules, 76, 153
history plays of Shakespeare, 18
Holinshed, Raphael, Chronicles, 18
Holmedon, 28
Holy-rood day, 28
honor as theme of play, 21, 143, 157
hornbook, 2–3
hose, 86
Hotspur (character)
admiration of by King Henry, 30, 108
age of, 18, 23, 30
choler of, 9
compared to Prince Hal, 50, 108, 124, 158
Douglas and, 123
egotism of, 100–101
grievances against King Henry of, 132–133
historical character of, 18
impetuosity of, 50, 68
language of, 49, 67, 102
motivation of, 147
plot of play and, 19–20
Prince Hal and, 21, 158
“To put down Richard, that sweet lovely
rose,” 167
traits of, 23
wife of, 13, 67–68, 101–102
humors, 9
Hybla, 33
Hydra, 153
177
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I
“I saw young Harry, with his beaver on”
(Vernon), 167
iambic pentameter, 7, 22
Illinois Shakespeare Festival Web site, 169
illness
humors and, 9
mortality rates and, 13–14
imagery in play, 22, 78, 124, 143
intellectual context of Early Modern England, 8–9
J
Jacobean period, 8
James I, 5, 12
John of Gaunt, 19, 61
Jonson, Ben, 3, 5, 6
Julius Caesar (play), 4
K
Kastan, David Scott, ed., A Companion to Shakespeare, 7
Kendal green, 75
King Arthur, 100
King Henry IV, Part 1 (play). See also characters in
play; language; themes of play
audio cassette of, 170
plot of, 19–21
sources for, 18
success of, 4, 17
tetralogy of, 19
time scale of, 18
King Henry IV (character)
conflicts of, 30–31
grievances against, 132–133, 143
language of, 108, 143
Percy clan and, 49
Prince Hal and, 86, 108, 158
King Henry VI, Part 2 (play), 17
King James Bible, 11
King Lear (play), versions of, 5
King’s Men, 5, 6
King’s New School, 2
kingship as theme of play
rebels and, 102
responsible type of, 143, 160
tetralogy and, 19, 21
L
Lancaster, Duke of. See King Henry IV (character)
language
denoting mood with, 115
of King, 108, 143
plosive sound in, 49
of Prince Hal, 108
of rebels, 102
royal “we,” 27, 108, 143
of Shakespeare, 6–7, 22, 31, 38
of Vernon, 124
lantern, carrying, 58
lime in wine, 72
Lischner, Ray, Shakespeare For Dummies, 169
literary techniques. See also language
alliteration, 86
blank verse, 7, 22, 31, 108
dramatic irony, 58, 62–63, 115
foreshadowing, 143
imagery, 22, 78, 124, 143
metaphor, 43
rhetorical devices, 86
running two stories in tandem, 67
scene, ending of, 22, 115
simile, 124
soliloquy, 38–39
tension, maintaining, 68, 133
London
Eastcheap, 37
Finsbury Fields, 99
Globe Theatre, 4, 5, 14, 15, 16
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ground plan of, 4
life in, 14
Newgate, 111
St. Paul’s Cathedral, 84, 87
The Theatre, 4
Lord Chamberlain’s Men, 4, 5, 15
loyalty as theme of play, 62, 63, 86
lute, 97, 101
Luther, Martin, 9
M
Macbeth (play), 18
Manningtree, 82
March, Earl of. See Mortimer, Edward (character)
marriage contracts, types of, 3
Mars, 106
Mary (Queen), 10–11
Master of the Revels, 14, 17
McDonald, Russ, The Bedford Companion to Shakespeare, 7
Mercury, 122, 124
Merlin, 100
Merry Wives of Windsor, The (play), 17
metaphor and pathetic fallacy, 43
meteors, 27
Michaelmas, 70
mitre, 135
morality in play, 39, 115
morality play, 21–22, 108
mortality rates in Early Modern England, 13–14
Mortimer, Edward (character)
defeat of, 19
Hotspur and, 20, 49, 101
as successor to throne, 44, 49
Mortimer, Lady (character), 13
Mr. William Shakespeare and the Internet Web
site, 169
“My reformation, glittering o’er my fault” (Prince
Hal), 167
179
N
Narrative and Dramatic Sources of Shakespeare (Bullough), 169
Nashe, Thomas, 4
New Place, 4
Newgate, 111
Norfolk, Duke of, 134
Northumberland, Earl of (character)
Hotspur and, 49
illness of, 123
“What, drunk with choler?”, 167
Norton Shakespeare, The (Greenblatt, ed.), 7, 11, 12
O
octavo format, 16
Office of the Revels, 14
Oldcastle, John, 18, 33
order contrasted with disorder as theme of play, 21
Order of the Garter, 60, 63
P
parents and children, relationship between as theme
of play
Hal and King Henry, 86, 108
Hotspur and Northumberland, 123
overview of, 21
passive obedience, 11
pathetic fallacy, 43
patriarchy, 13
Pegasus, 112
Percy, Henry (character). See Hotspur (character)
Percy, Kate (character), 13, 67–68, 101
Percy family
battle cry of, 147
grievances against King Henry of, 132–133
motto of, 66
Warkworth castle and, 67, 68
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performance space in theatre, 14–15
personality and humors, 9
petty school, 2–3
pit of theatre, 14
Plantagenet, 29, 31
playbook, 17
plosive sound, 49
poetry of Shakespeare, 22
Poins, Ned (character), 19–20, 38
political context of Early Modern England, 11–12
Pope Gregory VII, 149
practical joke, robbery as, 63
Preston, Thomas, 80
pretending to be what one is not, 86
primogeniture, 13
primum mobile, 8
Prince Hal (character)
age of, 18, 23, 30
common touch of, 85
compared to Hotspur, 50, 108, 124, 158
as “Everyman,” 21–22
Falstaff and, 19–20, 38, 86, 150, 158
“Fare thee well, great heart,” 167
Hotspur and, 21, 158
King Henry and, 86, 108, 158
mercy of, 160
“My reformation, glittering o’er my fault,” 167
reformation of, 39, 86, 108, 143, 157–158
soliloquy of, 38–39
tetralogy and, 19
“Two stars keep not their motion in one
sphere,” 167
Vernon and, 124, 147
virtues of, 108, 147
Prince John (character), 157
printing press, 16–17
pronouns, use of, 7
prose of Shakespeare, 22, 38
Protestant Reformation, 9–11
Ptolemy, 8
publication of plays, 5, 6
pun, 7
Puritans, 11, 14
Q
qualities of being, 9
quarto format, 4–5, 16, 17
Quickly, Mistress (character), 13
R
Rape of Lucrece, The (play), 4
Ravenspurgh, 47, 105
rebel cause
characters in, 24
defeat of, 160
disunity in, 101, 102
treason and, 147
underdog status of, 135
redeem, use of word, 158
reformation of Prince Hal as theme of play
battle and, 143
Falstaff and, 86
father and, 108, 157–158
soliloquy and, 39
religious context of Early Modern England, 9–11
renaissance, 7–8
rhetorical devices, 86
Richard II, 44, 49, 108
Richard II (play), 19
River Trent, 101
Riverside Shakespeare, The (Evans, ed.), 7
Rosencrantz and Guildenstern Are Dead (play), 1
royal “we,” 27, 108, 143
S
scene, ending of, 22, 115
Scotland, 12
scourge, 40
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scutcheon, 142
sepulchre, 27
Severn River, 42
Seymour, Jane, 10
Shakespeare, John, 2
Shakespeare, William
childhood and education of, 2–3
death of, 5–6
as enigmatic, 1
family life of, 2
film versions of plays of, 1, 170
Four Histories, 169
history plays of, 18
language of, 6–7, 22, 31, 38
marriage and children of, 3
plays of, 5, 6
publications of, 4–5, 16
reputation of, 3–4
sources of, 18
stage success of, 4
Web sites about, 169–170
Shakespeare For Dummies (Doyle and Lischner), 169
Shakespeare in Love (film), 1
SHAKSPER listserv, 170
sheet, 16
simile, 124
social context of Early Modern England, 12–14
soliloquy, 38–39
St. George, 2
St. Nicholas, 57
St. Paul’s Cathedral, 84, 87
staging of plays, 16
stop-press correction, 16
strappado, 76
Stratford-upon-Avon, 2, 4
surcoat, 149, 151
T
Taylor, Gary, William Shakespeare, 7
Tempest, The (play), 12
181
tetralogy, 18, 19
Theatre, The, 4
theatres
actors and staging in, 15–16
closure of, 4, 14
collaborative nature of, 16
Globe Theatre, 4, 5, 14, 15, 16
location of, 14
performance space in, 14–15
representing darkness in, 58
The Theatre, 4
themes of play
appearance contrasted with reality, 21, 39, 85,
86, 108, 150
familiarity breeds contempt, 39
honor, 21, 143, 157
interweaving of as play approaches resolution, 143
kingship, 19, 21, 102, 143, 160
loyalty, 62, 63, 86
morality, 21–22, 39, 108, 115
parents and children, relationship between, 21,
86, 108, 123
pretending to be what one is not, 86
Prince Hal and Hotspur, contrast between, 50,
108, 124, 158
reformation of Prince Hal, 39, 86, 108, 143,
157–158
Thousand Acres, A (film), 1
tiring house, 15
“To put down Richard, that sweet lovely rose”
(Hotspur), 167
tragedies of Shakespeare, 18
treason, 147
Two Noble Kinsmen, The (play), 5, 6
“Two stars keep not their motion in one sphere”
(Prince Hal), 167
Tyndale, William, 11
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U
universal hierarchy, 9
University wit, 3
V
Venus and Adonis (play), 4
Verdi, Giuseppe, 17–18
Vernon, Richard (character)
“I saw young Harry, with his beaver on,” 167
Prince Hal, description of, 124
rebel cause and, 132, 147, 160
verse, speaking in, 22
Virgin Queen, 12
W
Wales, 30
Wales, Prince of. See Prince Hal (character)
war imagery, 22
Warkworth castle, 67, 68
wealth, increasing, 12–13
Web site resources, 169–170
Webspeare Web site, 169
Well, Stanley, William Shakespeare, 7
West Side Story (film), 1
Westmoreland (character), 30
“What, drunk with choler?” (Northumberland), 167
“What is honour? A word” (Falstaff ), 167
William Shakespeare: A Textual Companion (Wells
and Taylor), 7
women, status of, 13
Worcester, Earl of (character)
cynicism of, 147
Hotspur and, 20, 30
King Henry and, 143, 160
plot of, 49
wisdom of, 123, 132
wordplay of Shakespeare, 7
Works of the Bard, The, Web site, 170
Wriothesley, Henry, 4
Y
York, Archbishop of (character), 135
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8570-3 CliffsComplete Shakespeare’s King Henry IV, Part 1
.F2 JV 4.4.00 .F:jv 3.30.00 .rb: lw 3.30.00
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Cliffs Complete Shakespeare`s King Henry IV, Part 1

Transcription

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